I live in a nation that has three year olds becoming life time members of the NRA, and anti-bullying seminars that force a draconian language of the politically correct so technical and nit-picky as to be a form of bullying in its own right. Guns to the right of me! Jargon to the left of me! All volley and hold the thunder (after all, thunder may be perceived as a semiotic indicator of male patriarchy). I look at my daughter and say: “I’m so sorry, but I wanted you to exist.
Into this vale of tears, I have introduced a magician giant who lifts the vale and give me moments of clarity and peace–he’s the friendly giant of old poems I can return to, the Giant who goes “presto!” and behind the vale of NRA nut jobs, and academic jargon spouters, there appears my mother’s favorite Robert Louis Stevenson, my favorite poems by Theodore Roethke, a couple of poets whose names will never be on the lips of microbrew swilling grad students: Walter De Lamare, Robert Francis, May Swenson, JV Cunningham, Kenneth Patchen, Carolyn Kizer. Sometimes I return to them by picking up the books, and sometimes by the faulty yet passionate vehicle of memory: I remember lines or whole poems, or the time of day and the quality of light when I first read the poems. A jet plane scratches its autograph across a blue Saturday afternoon spent down by the railroad tracks, reading where no one would bother me. I forget current poets then (I don’t always like poets. They sometimes wear capes and sweep into rooms and piss me off). I forget that I became a poet and remember that I am a reader of poems–not a poet. To be a reader of poems is still a lovely thing–a better thing. There is little ego involved in it compared to being a poet. It makes me forget the borderline sociopathy of English department brag fests–kudos to Henry, hype for Margie, and blah, blah, blah. Some working class anger in me denies the idea of “major poet.” I don’t believe in them. I believe in major poems.
Long before Centos became a fad, long before I knew what a Cento was, I was dicing and splicing in my mind as I walked to school or rode my bike, or drove my first car. I used to play like this:
Winter uses all the blues there are,
yet the wet sides of stones can not console her
She runs out of the sea, shaking her long green hair,
runs from the bleached valleys under the rose
this maimed darling,this skitterry pigeon.
It would be a paratactic (one short line after the other) recall of lines or mish-mash from poets I had been reading. In this case, A poem “Winter uses all the Blues there are” by Francis, a paraphrase, of Elegy for Jane, a splicing of Joyce’s I hear An Army with Olson’s The Lonely and Isolate Satyrs.” It’s what I did for pleasure or distraction, or the pleasures of distraction.
I never wanted to express myself in a poem; Fuck the self. Of all the things I know, the self is most fraudulent. I wanted to express the light on bricks at dusk, a certain ghost presence on a wintry day, the eyes of someone peering at me over a broken down fence, characters I made up, most of all–the haunting veracity of presence: what it is that is there in the world, but you do not know exactly–that haunted and haunting energy we might call the felt-life.
I’ve failed miserably to accomplish any of these goals. Whatever MFA programs teach poets to be, I pretty much don’t get. I blame myself–not the MFA programs. I am pretty stupid. All I ever had to go on was the faulty ardor of someone who liked the soundings and whisperings of things. Poetry now seems military to me. “Careers” are plotted out. Magazines march out their contests and fees and winners. Awards are given to the usual suspects. Most poets aren’t poets–they’re A students, a whole different species of excellence. They achieve. Whenever I hear the ghastly shriekings of “Achievement,” I recall Auden’s concept of “Achieving your corpse.” That puts it in perspective.
Today, when I woke up, I wanted to see a construction site. I wanted to pick up a clod of turned over dirt and throw it at the ghost of my own childhood–whack my ten year old self in the back of the head with a dirt bomb–the way my big brother used to do. I wanted to look at the crane and bulldozers sleeping in the early morning frost, glistening with their bright reds and yellows. I didn’t wanted to be young again. I never wanted to be young. I desired the power of a shape shifter. I wanted to be the milkweed pods on the verge of the site, and the point of merging where the crane’s neck met the sky–but all of it as consciousness, dizzy and reeling with consciousness. I wanted neither return nor recompence, but the presence of a thing made out of words.” It’s a strange courage/you give me ancient star/ shine alone in the sunrise/ toward which you lend no part.” I wanted that. Three year olds are being taught to shoot guns and confuse them with manhood. On the other side of the absurdity, words like globalization and transdisciplinary studies, are wrenching the arms off poetry. The poets have meetings and win awards, and sail passed their lesser brothers and sisters like Williams’ yachts. Who will sit with me at the table of our sins and breathe his word? What poetry will be found in the ears when I die? Who will make me forget how much I fear for my child who is asleep in the kitchen as I write. On flows the river/ A hundred miles or more/ other little children/ shall bring my boat ashore. I sure as hell hope so.
- Poetry Essay #1
- Poetry Essay #2: Careerism Versus the Work at Hand
- Poetry Essay #3: Checking Out Old Loves