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Monday, July 9, 2012
An Idea of Fantastic Moonlight
Bogus Jive, Brother Man
Later still, in the far throws of adulthood, there come the private totems, the hallowed reference points, the memorized conventions of morning cartoons, biographies of great poets and advertising jingles, conflated to essential absurdities one tears down and reconstructs and tears down again as the surging mood to distance oneself from the drudgery of work and obligations; one takes flight, throws water balloons at the canon, paints the icons in garish colors, makes unlikely partners of dissimilar virtues in order to reveal some space in one's consciousness where logic and hard rationale
haven't invaded and tamed. Then comes the "eureka" laugh, that fast, hard snort of being elevated above the physical place where you stand, momentarily transcendent, untouchable. I do this often enough alone, at home, whether writing or reading a book, and too often, perhaps, at work, where such outbursts
are evidence of a mind being on other things other than the bottom line, and it is for those seconds when all things are reduced in stature, made equal in
size. It doesn't last, of course, and soon enough the
euphoria evaporates into the hard facts in front of you. But it is nice when it happens.
I should also make it a point to relate that I just about never try to relate what it was I found so funny to anyone I'm around; the description defy anecdotal reiteration, most times seeming sketchy and bizarre when I do try. The punch lines are too private, the references mired in that roiling swamp of a consciousness that cannot be brought to public view without the mediation of
thoughtful consideration and editing. And even then it would be dubious whether an audience would find the reason for my fleeting giggle worth the effort to listen to me bray on.
Cody Walker has decided to bray on.Walker's poem isn't a great one by any means, and is such that you wonder once again what Pinsky's attraction to it was. The rhymes are trite, the subject attempting to lane change across style barriers with the worst kind of ham-handed self-reverentially readily found in the most grating post-modern poetry, and there is what can be a smug -knowingness that saturates this brief operation. We have a scenario where a bright boy , trying to regain his equilibrium after the departure of his girlfriend/wife/significant other, invests himself with the powers and abilities of his great heroes from comic books and the scant readings of top shelf authors. He becomesStar Trek:The Next Generation's Data ("I've also rerouted...
my neural pathways..." )and Superman , with a mention that he has also re-routed "fjords", an oblique reference to the opening of the fifties TV program where the Man of Steel is said to be able to "...change the course of mighty rivers..."
And so it goes through this short poem, a desperate playfulness abounds, a growing hysteria mounts, a breakdown threatens, all this stewing while the narrator seeks the blessing of the over-cited Nietzsche guarantee , to paraphrase a paraphrase, that what what doesn't kill you makes you stronger. What Walker intends is unclear--that the social constructions that result from our innate need to have life have purpose and meaning are finally inadequate? That mistaking experience as merely the means with which we test the veracity of our philosophical models is to lose sight of actual value?-- but what there is here is minor, indeed, worth a laugh, perhaps, but worth a laugh in the sense that what's funny is a reader's belief this tightly packed box of a poem merits a close textual reading. Walker wrote this as a knock off, I suspect, something to be put deep inside a collection as an off key note, a character-giving bit of dissonance insanity.It makes my case that mental anguish does not necessarily result in good poetry.
Friday, July 6, 2012
Sheila Heti’s How Should a Person Be: Compelling and irritating - Slate Magazine
A few years ago a member of the Nobel committee charged with choosing who wins the august prize every year complained that American writers were collectively immature, self infatuated and generally provincial in the fiction they write. Granted , this was during the W years when few in the world had nice things to say about anything coming from the United States, let alone its literature, but this novel, as described, underscores the substance of the the committee member's complaint: even in sections some defend as a self aware joke, the trials and tribulations of a generation that is simultaneously over network and incapable of discourse that isn't cast as an ironic aside to their own sense of absurd specialness sounds less inviting than a forced tour of your own living room. It is a low grade egomania .
We realize , however that the author in question, Sheila Heti, is actually Canadian, although born in England , and that the committee member was referring to his pained experience with writers born in the United States, The remarks remain a useful analog, however , so lets amend my original remark (not that there is anything truly original about it; bright Canadians who think they are geniuses, even in an ironic sense, are about as annoying as stupid United States citizens who haven't a clue that they are inappropriate, chest thumping galoots.
While I don't disagree that the Nobel judge was demonstrating his bit of provincialism by accusing American writers , as a whole, of being immature and self-infatuated. His basic gripe, though, it dovetails with a slew of youngish, bright and utterly uninteresting writers who cannot write fiction that even pretends to see beyond the vanity of being young .
There is a time in most people's lives when what later seems like obvious truisms seem so profound; many of us for a time, think they are profound and true because we assume that we're the only ones who who have had these ideas. Further, some of us take longer than others to realize that what we think are special insights and ironic readings of the world are mannerisms that have been borrowed from movies and books and that they've been practiced in the mirror too often for too long. Sheila Heti sounds like that kind of writer. The problem with being the center of the universe is that if, after a while, you don't lighten up, the gravity will crush you.
Thursday, July 5, 2012
Oakie doakie
describing small things
when the vapor clears,
like, does it really matter
who left their
styrofoam coffee cup
in the microwave,
who is suffering because
my belt came from a cow
on the wrong side of the planet,
does your bank account
actually throb with desire
when you shop online for
midget harmonicas
like they used to
play in movies
you watched when young
late night
in the basement
of a Michigan home?
?
?
I kissed you thirty years ago
before the music stopped
and I've been dancing ever since
although
decades and many miles
keep us apart,
I remember every punch line
but forget the jokes they go to,
your dog
in the photos you mailed me
is beautiful
and missing all the same.
No, I will not die my hair,
please
leave your chin as it is,
let us use knives to cut out our food
and live
a little longer
in the playground.
Tuesday, July 3, 2012
Marilyn and Tru sitting in a tree...
This is intended to be a lyric of sweet imagining, a tale of what if the tragic likes of Monroe and Capote solace, at least briefly, in each other's arms. Of course it would during a dance, a room full of sweeping music, the senses lulled , seduced and distracted from the grimmer things that lurk for both of them outside the room, with one of the two speaking that now is the moment to be in, that nothing else really matters nor should bother them, not as long as one of them leads and the other follows in time to the music.
Just a dance— just sweet, like everybody sweetly else, a man and woman sweetly moved. I know no one forgets the ugly things they’ve known, and yes, I know that love, for us, is sweat and panic and some cameras, but it’s still love, and we’ve done nothing wrong. So let them laugh and then forget it all: those drinks and pills, hands wet, that man who, grinning, made us dance so here we are, we’re dancing. Let’s just pretend that one of us—who would remember who?— slipped through the grand and glittered dark and said, Hello, fella. Hello and take my hand.
Poet Patrick Ryan Frank does a fine of sustaining a tone that keeps the poem's speaker anonymous--it appears that neither the personas of Monroe or Capote are speaking, issues of gender and sexuality are handily avoided, or at least obscured to the extent that it wouldn't be a stretch to imagine that both dancers are speaking as one. Still, this is something you find in a paperback novel that purports to reveal some inside secrets of the famous, powerful and tragic that reduces their stature to the mere sentimentality . The references to drugs, to media, to a world in general that seeks them out and in order to both adore and destroy them , are to be expected in a piece that cannot re-imagine these iconic figures beyond an interesting premise.
This fails both as poetry and barely qualifies as gossip, albeit a well-intentioned gossip. This might have been a poem that speculated about a what sort of plausible but unexpected set of things these two might have discussed in such close embrace,the irony and tension might have been subtly and intensely expressed without reference to their real world celebrity, but Frank has done otherwise. Rather than imagine what was inside the magic space between them, that mutual private time where titles, professions and other signifieds fell from them, it becomes merely tacky, an episode of "Dallas". Why would be interested with such trivia this poem offers?
Sunday, July 1, 2012
Hunter S. Thompson: Fear and Loathing on the Campaign Trail ’72 review by Matt Taibbi. - Slate Magazine
Mere appearence, though, sufficed too often for Thompson, as his conceit, dove-tailing tellingly with his appetite for high powered stimulants, was that he could walk into the room full of characters and size the situation quickly. His concern was pacing over all, the attempt to simulate the down hill careen of a waiter carrying too many hot dishes from the kitchen. For all the energy and paranoid genius Fear and Loathing In Las Vegas and his Campaign Trail book contained, it amounted to the best expression of the limited set of riffs Thompson.
He was not especially engrossing as a political thinker--we read him for his vitriol. His attraction for invective , I imagine, was because it was easy and that it was a convenient means to get to the bottom of one typewritten page after another; the rhythm of the constructed persona of being the most wasted man alive bravely inveighing against the stupidities and inequities and the utter mendacity of the world in which he finds himself would go into hyperdrive.
For some this suggested automatic writing, the idea that HST was channeling some Truth hidden behind the barriers of bullshit and pretense, a voice greater than his own. Perhaps, but for me it was the writing of someone who was working what became a tired set of rhetorical ploys. Thompson plainly never had the chance to transcend his moment of transcendent genius, as had, say, Norman Mailer, himself an egotist with a certainity that only he could get to the disguised truth of things. Mailer settled in for the long haul, abandoned much of his writerly eccentricity and produced a series of brilliant books of fiction and nonfiction in his late career; there are other things to discuss about Mailer than his antics.
There are many who would like to consider Thompson our generations H.L.Mencken, but I would say the departed Hunter comes up short: even a writer as caustic as Mencken would , often enough, vary his tone and write about matters that didn't need to be vilified, crucified or witlessly mocked. Thompson never had the chance to try anything truly different.
Friday, June 29, 2012
HOSPITAL by Charles Webb
Thursday, June 28, 2012
Fiction for fugitives
to the top of the Watertower he was standing under with his friends, a loose conferderation of high school buddies, musicians and other semi-employed types who were now in their early forties, years from their graduation date and year boo predictions, standing under a Watertower in the middle of a public park, a spot that had become a hang out for no other reason other than convience to homes and jobs , basic, bonehead familiarity, and the fact that few of these guys ever gave up the idea of being on some kind of cutting edge where street credibility was everything. Middle aged men with nothing else to do but wait out the duration of their drug of choice before they could go home, or to work, which ever they individually remembered they were in line for.
Bonerface rubbed is neck and took a long toke of a joint of skunk weed that was being passed around. Ferg took the joint as he looked up as well, studying the underside of this huge Watertower, a large vat supported by six supporting legs that were as wide as small houses on chopped up lots of land. An ache developed in his neck, and staring at the criss-cross pattern of beams, joists and joints in a murky , rain-drenched dark made Ferg feel profoundly powerless in the center of his stomach. The earth seemed to move away from his feet;gravity seemed suspended. He passed the joint along without taking a hit and looked at Bonerface, who was now playing an invisible guitar. Fingers scurried along unseen frets, notes plucked out the air with a sound that came up from under the street, the mission of the muse to make this park electric, electric,
Bonerface sang something to ease the pain in his neck
"dDEedeeeeeeeeediddly GREUndelliddlybomp!bomp!Bomp! wheeddly wadiddddddddddddididididididididily WHAmzitridddddddddley wheedlyWHammylidlle dlalotta BOMP BOMP!!!"
"Nice power chords" said Grelb, a friend who actually finished a year of college who made a half a living selling record reviews to dozens of adult magazines , titty mags and fast beats, he liked to joke, "nice runs and scat shattering sonics there, and the chords come nicely placed, "BOMBgoddamnedBOMP, and that opens up the rest of the night, the stars above to a terrifying extreme of get down…"
Bonerface shrugged , sang more riffs, this time something that resembled Hendrix , if Hendrix played marches.
"Good for the pain the neck" said Ferg.
"Whatever" said Grelb" because you know one of these days one of us is gonna get married, get a real job, or just die from so much hanging around doing nothing but living on little else but minimum wage and alcohol, and wher will that leave the rest of us, under this Watertower…."
"Beats the willies outta me" said Ferg, "You move on, I guess, you see better movies. Better yet, you become a movie yourself. You may still die at the end, but at least it's a death that means something, hokey though the moral may be…"
"You shoulda been a film critic" said Grelb, "you have a way of filling the air with sentences that evaporate quickly after sounding so pleasant after you said them…"
"Anymore whiskey?"
"Yeah" said Grelb, producing a bottle from the picnic table where the small felllowship did their weekend drinking. He handed it to Ferg.
"My neck still hurts" said Bonerface,"I mean shit, that thing is tall…"
"You need to stop looking up like that" Ferg muttered, "we been coming here since we graduated, off and on, and you still have to stare up at this thing the minute you take your first punch offa bomber?"
"My neck hurts".
"I'm gonna be sick" said Grelb.
"Pussy" said Ferg, " call yourself a son of Irish pride? Go ahead , be sick…"
"Cut some slack, her, Ferg" said Bonerface, "it's not as if you haven't been the one broadcasting their lunch recently."
Ferg rubbed his jaw, reached into his pocked and fished out a smashed back of Camels. He took one out of the creased pack , jabbed it between his lips and lit it with the last dry match he had, cupping the flame as it seared the cigarette tip. The burning end glowed in the dark, highlighting the counters and lines of his palms. The smoke felt good as it seared his throat. A good burn, he thought, burn away this bullshit.
Thursday, June 21, 2012
Complainer
Brilliant as she has been , Joni Mitchell has also had made nearly as much music that is, shall we say, in equal measures underwritten, bombastic, pretentious, just plain pretentious. She coveted the sobriquet "genius" more conspicuously than any pop star I can remember--even self mythologizer Dylan rejects the
application of the word to his name and has suggested , in a sense, that his
most arde
Saturday, June 16, 2012
“Forbidden City” by Gail Mazur. - Slate Magazine
Mazur's poem has that feeling, a jet streamed slide into a play that amounts to an accumulated series of anxieties involving a relationship that has become deadened; the structure is unsound.
Friday, June 15, 2012
TOO ROLLING STONED
Pebble
by Zbigniew HerbertThe pebbleis a perfect creatureequal to itselfmindful of its limitsfilled exactlywith pebbly meaningwith a scent which does not remind one of anythingdoes not frighten anything away does not arouse desireits ardor and coldnessare just andfull of dignityI feel a heavy remorsewhen I hold it in my handand its noble bodyis permeated by false warmth---Peebles cannot be tamedto the end they will look at uswith a calm and very clear eye
I Am A Rockby Paul Simon
A winter's dayIn a deep and dark December;I am alone,Gazing from my window to the streets belowOn a freshly fallen silent shroud of snow.I am a rock,I am an island.I've built walls,A fortress deep and mighty,That none may penetrate.I have no need of friendship; friendship causes pain.It's laughter and it's loving I disdain.I am a rock,I am an island.Don't talk of love,But I've heard the words before;It's sleeping in my memory.I won't disturb the slumber of feelings that have died.If I never loved I never would have cried.I am a rock,I am an island.I have my booksAnd my poetry to protect me;I am shielded in my armor,Hiding in my room, safe within my womb.I touch no one and no one touches me.I am a rock,I am an island.And a rock feels no pain;And an island never cries.
The pebbleis a perfect creatureequal to itselfmindful of its limitsfilled exactlywith pebbly meaning
Tuesday, June 12, 2012
RAY BRADBURY
Sunday, June 10, 2012
Sea Gods
It's been an occasional pleasure of mine to collaborate with a visual artists, their vision, my poems interpreting that vision. An old friend, Jill Moon, created this sculpture for the city of Ocean Beach, California (with able assist from Matty Welch). This poem I devised when I viewed while in OB to absorb some good old fashioned community counter culture vibes is my perhaps sad attempt to tell a tale that has less to do with Jill's sculpture than whats' been rattling around my empty can of an imagination. In any event, that piece inspired this piece. I hope you enjoy both.
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Thursday, June 7, 2012
God's nod
"The Buddha was silent about the existence of God".
Likewise, God is also silent about the existence of God. Unfortuately, not everyone agrees; to have silence be a key to any metaphorical doors that might open up and reveal a metaphysical superstructure of even further quiet and calm is simply too much.Their God is a busy multitasker, making decisions, running the Universe and beyond. It's heresy. Interesting that's these people who make all the noise regarding his greatness and kindnessI am something of a terse Kierkegaardian: i arrive at something that feels like proof of His/Her existence when I stop wading through murky theological concepts and take an action with whatever reserves of faith that I have. An act of faith. Whatever the results happen to be are not so much God's will for me as much as it is the next thing he wants me, all of us, in our own ways, to attend to. I suspect that even God does not the know the outcome of the actions we take. He is there, though, to offer to turn up the light in our search for an inspiration. All we need do is ask . And be realistic enough that God will not answer us in ways resembling a bungled sign, a letter, phone call or email. The occasional hunch or inspiration, yes. Everything else is too flashy.
Monday, June 4, 2012
Post-Literacy or Super-Literacy? | Quarterly Conversation
Saturday, June 2, 2012
TED BURKE, like it or not: The poor are patronized, Baseball gets punked
Tuesday, May 29, 2012
Dolly wants to kill you
Monday, May 28, 2012
Fuhgeddaboutit - Oy vey! - Salon.com
Chris Matthews, chief bullhorn at MSNBC, is a pundit who has his faults, but even at his worst moments serving up bombast and belligerence he remains a better man that Salon's video commentator Frank Conniff. Conniff is billed as a comedy writer. Fine. But beyond the fact that he appears to be a cheeseburger shy of a heart attack, he is remarkably unfunny, at least as far as his performance . Watch this video and determine if this guy, a paid professional, is actually any funnier than you and your buddies when you're on your second twelve pack cracking wise during an interminable half time act during the Super Bowl. His face seems wedged into the camera lense, stuck by way of cheese fries and fattened, sagging flesh. There is a reason comedy writers ought to remain in the conference room, trolling porn sites and rubbing one out on an old copy of Vogue.
Sunday, May 27, 2012
You can say that again, but louder
Friday, May 25, 2012
On Longwindness
"I can assure you, sir, that these things really suck!" -- Don Van Vliet,when selling a vacuum cleaner to Aldous Huxley
That something I cannot yet define completely but the feeling comes when you write well and truly of something and know impersonally you have written in that way and those who are paid to read it and report on it do not like the subject so they say it is all a fake, yet you know its value absolutely; or when you do something which people do not consider a serious occupation and yet you know truly, that it is as important and has always been as important as all the things that are in fashion, and when, on the sea, you are alone with it and know that this Gulf Stream you are living with, knowing, learning about, and loving, has moved, as it moves, since before man, and that it has gone by the shoreline of that long, beautiful, unhappy island since before Columbus sighted it and that the things you find out about it, and those that have always lived in it are permanent and of value because that stream will flow, as it has flowed, after the Indians, after the Spaniards, after the British, after the Americans and after all the Cubans and all the systems of governments, the richness, the poverty, the martyrdom, the sacrifice and the venality and the cruelty are all gone as the high-piled scow of garbage, bright-colored, white-flecked, ill-smelling, now tilted on its side, spills off its load into the blue water, turning it a pale green to a depth of four or five fathoms as the load spreads across the surface, the sinkable part going down and the flotsam of palm fronds, corks, bottles, and used electric light globes, seasoned with an occasional condom or a deep floating corset, the torn leaves of a student's exercise book, a well-inflated dog, the occasional rat, the no-longer-distinguished cat; all this well shepherded by the boats of the garbage pickers who pluck their prizes with long poles, as interested, as intelligent, and as accurate as historians; they have the viewpoint; the stream, with no visible flow, takes five loads of this a day when things are going well in La Habana and in ten miles along the coast it is as clear and blue and unimpressed as it was ever before the tug hauled out the scow; and the palm fronds of our victories, the worn light bulbs of our discoveries and the empty condoms of our great loves float with no significance against one single, lasting thing---the stream.
The secret, I think, is that a writer possessed of a fluid style manages to link their mastery of the language with the firm outlining of the collective personalities of the characters , both major and minor. The elegance is in service to a psychological dimension that otherwise might not be available. The thinking among among the anti-elegance crowd is that writing must be grunts, groans and monosyllabic bleats, a perversion of the modernist notion that words are objects to used as materials to get to the essential nature of the material world. Lucky for us that no one convincingly defined what "essential nature" was, leaving those readers who love a run on sentence with more recent examples of the word drunk in progress.
I don't mind long sentences as long as their is some kind of mastery of the voice a writer might attempt at length; I am fond of Whitman, Henry James, Norman Mailer, David Foster Wallace and Joyce Carole Oates, writers who manage poetry in their long winded ways. That is to say, they didn't sound phony and the rhythms sounded like genuine expressions of personalities given to subtle word choice. Kerouac, though, struck me as tone deaf. After all these years of complaining about his style, or his attempts at style, the issue may be no more than a matter of taste. Jack Kerouac is nearly in our American Canon, and one must remember that the sort of idiom that constitutes literary language constantly changes over the centuries; language is a living thing, as it must be for literature to remain relevant as a practice and preference generation to generation.A poem about baseball in Detroit, yay!
D- Town after the '06 Series
No one saws that we must
stay here , grasping at empty, reedy straws
for something to talk about
when another ball hits the glove's webbing
and hops defeated to the trampled,red grass.
We should move to the exits
and back to the hotel
and go back to the arenas
where we don't wave blankets
but do toss octopus filets on the ice
we hope will gum up the blades
of visitors to our berg
and tell them that
all we do is puck around.
The last Taurus
rolls off the line
and into the street
in hopes a buyer
will drive it into the sunset,
flipping the bird in the rear view
as wheels come off each parked car
under the shadows of these
tall, empty buildings,
We say yeah, we lost,
and we can't afford
to give a flat tire
about it,
we make sure it gets shouted
that that's all
in the game
as we measure our pain
and relish plain facts
that bad news and broken bones
are as constant
as the weather,
our newspaper is printed on leather
and we'll huddle
in old Cork Town Taverns
over Strohs and
black and white photos
of dead Irish mayors
wondering
when oh when it was ever good
as they say it used to be.
Tuesday, May 22, 2012
Suck Hard For Best Results
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