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Everything

Dear an hour north the trees
are already shuttered leaves

whip my face and the lake
is lashed to whitewash while

back home our initials grow
dim erosion smoothes cement

and names and your lover writes me
letters detailing your predilections

in colored pencils asking for friendship
I suppose she does you well out here

in the forest the season is brewing
and no one minds the strange

accent the new girl wears around
her neck with a cross our senses shatter

on punctuation and dropped Roman
vowels streetlights and shadows

follow sirens deep into the maze
of named streets while here a fox

has been eating chickens one by one
in the skeleton night where once

a shiv of moon grew flat on our lake
while snow fell and held the light

How do you know when you’re “done” a poem?

I’m not speaking about revision, but rather, the act of writing, particularly lyrical free verse. Donna Masini once described it to me (or a class I was in—can’t remember which), as a settling in the body: a literal sense in the poet’s body that there is no more to write. What a strange way to describe it—yet, I find it has been true with me. I’ll be sitting in front of a computer, write a line, and suddenly, intuitively, I know the poem is finished. It’s a sense of relief, that sighing experience when you’ve just removed a splinter (though the process of removing a poem from your body is usually more pleasurable.

Grossman speaks about the silence from which a poem comes. Silence is the place where “all men agree.” Not only this, but one must overcome silence, the gap between speech and no speech (more on that later). But once you’ve broken this barrier, how do you know when to shut up the stream of words? Often, it seems there is no end to the multiplicity. Once you’ve entered a poem, how the hell do you get out?

Grossman speaks about “closure.” Perhaps this isn’t the same as the closing of a poem, yet, once you’ve reached closure, how much further could the poem go? (Does anyone know of a poem that begins with closure and goes from there?) Grossman says:

The poem achieves “closure only when some new cognitive element has been added to the relationship of subject and object. Terminal closure is “something understood.” Closure brings the poem to an end as apocalypse (“dis-closure”) brings Creation to an end.

There seem to be couple different ideas Grossman is drawing on here. “Something understood” refers, perhaps, to an almost Buddhistic sense of Nirvana. The achievement of enlightenment brings about the end: one has finished becoming and is only being. Naturally, this seems like an ending place for the poem (especially if we understand a relationship between being and text—again, more on that in post 5, which is forthcoming).

On the other hand, there is a strong Judeo-Christian understanding of narrative here: the apocalypse, the end that must come (as the diver must eventually finish his dive). Strange to think of a poem and apocalypse as being in the same category, but it makes a certain sense: the poem is an act of a person (godlike) who breaks the silence (ex nihilo?) and at some point comes riding in on a white horse and ends the poem. On the other hand, is it fair to separate the beginning of writing from the myriad of things that inspire it?

Let’s look at an actual poem. I love David Ferry’s translations of Horace’s Odes, and it always amazes me how Horace’s poems seem to snap shut at just the right moment. (Note: I have been unable to get WordPress to get the exact formating of this poem–apologies to David Ferry.)

To Sestius

Horace (trans. David Ferry)

Now the hard winter is breaking up with the welcome coming
Of spring and the spring winds; some fishermen,
Under a sky that looks changed, are hauling their caulked boats
Down to the water; in the winter stables the cattle
Are restless; so is the farmer sitting in front of his fire;
They want to be out of doors in field or pasture;
The frost is gone from the meadow grass in the early mornings.
Maybe, somewhere, the Nymphs and Graces are dancing,
Under the moon the goddess Venus and her dancers;
Somewhere far in the depth of a cloudless sky
Vulcan is getting ready the storms of the coming summer.
Now is the time to garland your shining hair
With myrtle or with the flowers the free-giving earth has given;
Now is the right time to offer the kid or lamb
In sacrifice to Faunus in the firelit shadowy grove.
Revenant white-faced Death is walking not knowing whether
He’s going to knock at a rich man’s door or a poor man’s.
O good-looking fortunate Sestius, don’t put your hope in the future;
The night is falling; the shades are gathering around;
The walls of Pluto’s shadowy house are closing you in.
There who will be lord of the feast? What will it matter,
What will it matter there, whether you fell in love with Lycidas,
This girl or that girl with him, or he with her?

There is one clear arc through this poem that indicates the end is coming: it moves from dawn (of spring) to evening (of life). While not about a literal day, the movements of a day are naturally contained (and what a beautiful and subtle shift from the seasons to life here—one that’s been done a million times, it’s true—yet so perfect and worth repeating; c.f., Joe Weil on the Ballad. Joe’s post reminded me of a poem from Wendell Berry’s Given—the title of the poem escapes me at the moment—in which an artist states that he would be perfectly content painting the very same river over and over, that this was the ideal of every artist.). The ur-movement from morning to evening, and the association of it with the seasons (and thus life itself) is, I think, what Bly was getting at when he referred to “deep image.” I suspect such “deep images” that are arguably shared between even wildly diverse cultures have something to do with the where and when of our poems, the sense of when a poem “feels” “closed” to us.

But this movement from day to evening is not everything. If it were, the poem would not contain the “new cognitive element” of which Grossman speaks. The whole poem is an address, yet the addressee is not revealed until the very end. Indeed, grammatically, there is no clue that it is a poem of address (as opposed to private musings “overheard” by us, the audience), until the very end. The convergence of the “deep image” of day and the revelation of Sestius helps achieve, perhaps, what Grossman referred to as a “new cognitive element” that is “added to the relationship of subject and object.”

There is more going on here that indicates the ending (the repetition of words and the question are a rhythmic indication), but I suspect the address to Sestius (culminating in a question only) combined with the movement from day to evening is the basic structure of the poem. Horace is allowed to end on a question, not because it is open-ended, but it is the natural completion of the thought. Nighttime brings about both closure and anxiety (What will come tomorrow? Was today sufficient?). Thus it is entirely appropriate to end on this note, and not at all a (deliberate) incomplete ending.

On one other note, Grossman believes that the “occasion for generative speech” (i.e., poetry), is “some dislocation or ‘disease’ of the relationship of a subject and an object….Creation is not the speaking itself but the primordial disease or fall which thrusts me into a predicament in which speech is the only way.” This idea seems to conflict with the idea that Wendell Berry articulates, that a poet should be content to stare at the same river, rejoicing continually in it, painting the same thing over and over (though really, is a river ever the same?). For Grossman, poetry comes out of a problem; for Berry, ideally, poetry comes out of a sense of fullness, of completion (not to the exclusion of problem poetry). Interesting to note that in the creation narrative of Genesis, creation is sung into existence (or rather, the creation narrative itself is a hymn).

(Note I’ve skipped from Part 4 to Part 6. Part 5 is still in the works.)

Ben Lerner is damn smart. In case you aren’t convinced by my saying so, you need only stop and examine one his books the next time you have a chance. Just the titles of The Lichtenberg Figures, Angle of Yaw, and most recently, Mean Free Path (Copper Canyon Press, 2010) suggest that the enclosed works have elaborate scholarly underpinnings. Lerner’s cerebral poetry isn’t chip-on-the-shoulder intellectualism or self-conscious hipsterism, however, and to shy away from his books because of their rigorous erudition would be to miss a difficult, witty, utterly sincere contemporary writer.

Lerner’s latest project is a sensitive exploration of how our inherited war- and commerce-freighted language might be capable of intimate expression. According to the publisher’s blurb on the back cover of the book, which is the most succinct explanation I could find of the title: “In physics, the “mean free path” of a particle is the average distance it travels before colliding with another particle.” In adopting this phrase as his title, Lerner appears to be making an analogy to our language: particular words and phrases bear residues of prior use. For example, since “shock” and “awe” were appropriated by 1996 military doctrine and then repeated all over news media in 2003 as the U.S. military bombed Iraq, we may not use these words (and certainly not the phrase “shock and awe”) without the tarnish of the over 6,600 casualties—many of them civilians—of the “invasion phase” of the U.S. campaign. And this is just one example involving rather commonplace words—night vision green, this time with feeling, perfect world, prisoner, and a host of other problematic phrases and words recur throughout Lerner’s book. They do so, however, in the interest of expressing himself to a particular addressee—his wife—in a manner that creates fresh intimacy for the reader. Surprisingly, through fracture, repetition, collision, and repeated recontextualization of particular words and phrases, Lerner’s new poems work to liberate love poetry, elegy, and poetry in general from commercial and military connotation.

This project is full of surprise, including humor. Lerner can’t seem to help but barb his poems with sometimes-desperate, dry wit and knuckleball pop reference. The first poem, a “Dedication” to his wife, whose name lovingly recurs throughout, reads, after its central break:

    For I felt nothing,
        which was cool,
    totally cool with me.
    For my blood was cola.
    For my authority was small,
    involuntary muscles
        in my face.
    For I had had some work done
        on my face.

The idiomatic use of “cool,” the surprising, practically Objectivist (insert your own long sequence of analysis here, à la Zukofsky, whose name appears at the end of the first section) use of “cola,” and the sudden reference to plastic surgery all constitute a deixis to the commercialization of language (not to mention the ominous suggestion of “authority”), in a personalized, loving frame. How can these bits of language belong in a love poem, if not to say, “I care so much about you, let me use my terrible inherited palette self-consciously, athletically, and baring my preoccupations. It’s all I have.”

In the end, however, extrapolated earnestness is not all Lerner offers his wife and reader. These poems are also absorbingly formally innovative. The book is divided into five sections. Following “Dedication” (which is a doubling of the “Doppler Elegy” form)—the second and fourth sections are called “Mean Free Path” and the third and fifth “Doppler Elegies.” Both “Mean Free Path” sections are comprised of sequences of 36 stanzas. It’s hard to call these stanzas individual poems, as none are marked by a title. Each is nine lines of relatively similar length, somewhat akin to Spenserian stanzas, although not patterned by stress or meter. These stanzas are challenging bits of poetry, however. Each line of “Mean Free Path” may or may not enjamb sensibly with the next, and enjambment may break a given phrase off from its expected, idiomatic conclusion. There is never punctuation at the end of a line, and often as we read the meanings of fractured phrases are transformed through Lerner’s collage-like stanzas, which are part of a great mosaic of repetition, fracture, juxtaposition, and ellipsis. The reader must work to make sense of the leaps in subject, tense, grammar, lost predicates, or might read smoothly from one line to the next. This game of making, not making, and changing sense continues over the marked breaks between stanzas. For example, the second section of “Mean Free Path” opens:

    What if I made you hear this as music
    But not how you mean that. The slow beam
    Opened me up. Walls walked through me
    Like resonant waves. I thought that maybe
    If you aren’t too busy, we could spend our lives
    Parting in stations, promising to write
    War and Peace, this time with feeling
    As bullets leave their luminous traces across
    Wait, I wasn’t finished, I was going to say
    Breakwaters echo long lines of cloud

    µ

    Rununciation scales. Exhibits shade
    Imperceptibly into gift shops. The death of a friend
    Opens me up. Suddenly the weather
    Is written by Tolstoy, whose hands were giant
    Resonant waves. It’s hard not to take
    When your eye is at the vertex of a cone
    Autumn personally. My past becomes
    Of lines extending to each leaf
    Citable in all its moments: parting, rain

A similar game of meaning-making and -breaking is afoot in Lerner’s “Doppler Elegies,” which formally attempt to mimic the “shifts” that Christian Doppler described in terms of the frequency of waves for an observer moving relative the source of the wave—the source, of course, may be the mover, too, and the effect may also be created by a change in medium through which waves travel. In addition to this scientific framing, Lerner’s “Doppler Elegy” form is comprised of three nine-line stanzas, the second, seventh, and ninth lines indented and shortened to create a sense of shift. The shorter lines of these pieces—some of which are very short—create an even more dramatic effect on readability as one proceeds through each piece. The difficulty of making sense in these poems by amplified in Lerner’s process of fracture and juxtaposition—essentially collage. Self-reference is even more insistent and intense, as well. The penultimate “Doppler Elegy” of the book’s third section reads:

    µ

    Somewhere in this book I broke
        There is a passage
    with a friend. I regret it now
    lifted verbatim from
    Then began again, my focus on
    moving the lips, failures in
        The fuselage glows red against
    rinsed skies. Rehearsing sleep
        I think of him from time

    in a competitive field
        facedown, a familiar scene
    composed entirely of stills
    to time. It’s hard to believe
    When he calls, I pretend
    he’s gone. He was letting himself go
        I’m on the other line
    in a cluster of eight poems
    all winter. The tenses disagreed

    for Ari. Sorry if I’ve seemed
        distant, it’s been a difficult
    period, striking as many keys
    with the flat of the hand
    as possible, then leaning the head
    against the window, unable to recall
        April, like overheard speech
    at the time of writing
        soaked into its length

And the poem continues into another challenging section. I would love to keep going with such fascinating (to me) examples, but I believe this is a book worth owning and spending a fair amount of time with. Novel, exciting, sometimes funny and always strangely intimate, Mean Free Path is constantly and repeatedly intriguing. Lerner’s deep well of scholarship and charming wit are marshaled toward a sincere, personal mission (military connotations inescapable) here, and the result is a difficult, winning book of poems that, rather like Nabokov’s best work—although nothing like Nabokov’s best work—are endlessly rich with discovery. If you aren’t familiar with this astonishing 31 year-old poet, it’s in your interest to become so, as his past and future work will be with us for a long time.

On First Looking into Chapman’s Homer

Much have I travell’d in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-browed Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star’d at the Pacific — and all his men
Look’d at each other with a wild surmise —
Silent, upon a peak in Darien.

- John Keats

A CORSAGE

Feeling like “a very village of sorrow,”
Just like Franz Schubert, with each sad bourgeois
Dolorously doleful, I only said
When you asked me for my life-story,
“Well, the world is a funny place, un
Pleasant things can happen.”

I chewed
The silence, cryptic and stupidly.
I felt diminished by myself, much like
The passport photographs that make you look
Like an escaped convict or
The victim of circumstances.

I
Am the oyster shell, after the
Succulent seaworm’s been devoured,
With only the pretense of sea in your cupped
Ear.

The next day you wore a
Corsage of pansies.
Exultantly alive, serious scholars
Of melancholy, brave and lionhearted
With thoughtful thoughts.

Now
In this well of eyes before me, icy eyes,
Now in the Broadway 7th Avenue Van Cortlandt
Subway, feeling quite walled in, Henry
David Thoreau breaks the ice, says
“Time is the stream I go a
Fishing in—what about
You?”

I, Henry, will study
These pansies, profoundest
Professors of the world’s woes.

ANOTHER POET CALLED DAVID

I reached a point where there was no
Use going on: my companion said, “Do not waken
The watchman, do not shout, he will die
Of shock if you make the slightest
Sound.” I stood in the utter darkness,
Cold. Without evidence of myself.

The technique of diversion con-
Founds the rival by simulating friendship or
As the Victorians might say, worming
Affections. Then, at the point of trust,
As on this dark stage where on man sleeps
Slumped by the flashlight, to change the
Mode of address, from friend-
Ship to a complete stranger, to shriek-
Ing subtlety, to innuendo, and back to
Friendship. The executive wishes to
Demoralize his employee, perhaps he is slightly
Jealous?

I do not know. At the same time I could not enjoy
The enchanting silly coffee waves, sometimes
Sapphire, which is the fluid stream of our life.
Since then, like William James, I have learned
Ice-skating in my August, after—

At that point I returned;
Since there was no point going on I went back,
I spoke again to the marvelous friends of
My youth: for a short while it was a life.

That you were not willing I am sorry.

REFLECTIONS ON VIOLENCE

I dislike going with a woman
Into a restaurant. There is
A plot of mirrors
All designed to make me self-conscious.

“—Will you
Please top looking at yourself
In your exquisite Cloisonné compact.
Your lips, your hair is
Very nice. Everybody’s eyes say
So.”

O voyeurs! intruding
On my domestic date, do you see
Any glory in this ancient
Ritual?

Hunters of
The unshuttered nudes of accidental windows.

PROSPECT PARK

I would like to ask that dumb ox, Thomas
Aquinas, why it is, that when you have said
Something — you said it — then they ask you
A month later if it is true? Of course it is!
It is something about them I think. They think
It is something about me. It adds up
To my thinking I must be what I don’t
Know . . .

— The park is certainly
Tranquil tonight: lovers, like ants
Are scurrying into any old darkness,
Covert for kisses. It makes me feel
Old and lonely. I wish that I were
All of them, not with any one,
Would I exchange my lot, but the entire
Scene has a certain Breughel quality
I would participate in. —

Do I have to repeat
Myself. I really mean it.
I am not saying it again to convince myself
But to convince the repressed conviction
Of yourself. I think. I think. I think it.

Easier Than Learning Klingon

Jason Crane reviews John Gallaher’s Map of the Folded World

In the realm of wrong answers, someone

always has the radio on.

– “I Will Sing the Monster to Sleep, & He Will Need Me”

~

I’ve been watching the middle seasons of Stargate SG-1 again. If you’ve never seen the show, the premise is that there are Stargates that allow instant travel between planets. You step into one and step out into a completely different landscape.

To get around the problem of having to invent new languages for every race of aliens encountered, the producers cut the knot this way: They explained that a particular race of evil aliens had captured many humans from earth and sprinkled them throughout the galaxy to use as slaves. So most of the folks you encounter are human. And most of them speak English, albeit with some interesting variations in dialect.  And no, that last bit doesn’t make any sense, but it sure is easier than having to learn Klingon.

Which brings me to John Gallaher’s Map of the Folded World (University of Akron Press, 2009).  Gallaher has managed to create a language all his own using English words. Reading his poems, I felt like I’d arrived on some other world where the linguistic building blocks were familiar, but the physics of assembling them was completely different, surprising, otherworldly.

Map of the Folded World gathers momentum as it goes, and traveling through it I was quickly swept up into Gallaher’s deft use of language, not really needing to know what something meant so much as to hear how Gallaher had opened up the possibilities of the words by putting them next to one another in surprising ways.

I don’t feel it’s helpful to quote sections of his poems (even though I began this review with my favorite line from the book) because his poems are so dependent on wholeness. To remove any piece for study under the microscope would be to miss the point. Gallaher is sculpting, constructing, imagining, transporting the words. And while I’m sure these poems would be captivating individually, Map of the Folded World is a book; it is held together by the strength of Gallaher’s imagination and by the cascading wash of the language through the volume’s entirety. By the time I reached the end, I felt almost as though I could speak the language, as though I could understand what some of the natives were saying, and maybe even try to carry on a rudimentary conversation of my own.

All of that said, though, it’s worth giving you a chance to experience Gallaher’s linguistic achievements for yourself. Here’s the entire poem from which I quoted above:

~

I Will Sing the Monster to Sleep,
& He Will Need Me

In the realm of wrong answers, someone
always has the radio on.

Someone is eating, and someone
walking about the room, in the dim café
which ends in a distant range of snow-capped mountains.

There are vanishing people
meeting at the diving board off the window sill,
and a cloud pierced by windows.

There are a lot of things you don’t get to decide.

At first, the evenings were filled with stories, music,
or both, with a beige floor
shaded here and there with red.

And then the children are walking across the gravel
in the dark. Always small footsteps
in any manner of realms.

And they quiver like the moon.

Let’s look for them awhile, and see what we find
beside the intimidating tower at the summit
of the gently rising square.

There will be water in this pool soon.
And we’ll know what happiness is.
There’s time, and figures

moving among the arches.

We will take some questions now, they’ll say.
Please raise your hand.

~

I love clear, narrative poetry. For me, this is not that. What it is, instead, is something equally valuable and maybe more rare — a transformative experience that occurs through nothing but the careful placement of word blocks on a landscape of Gallaher’s own devising.

Highly recommended.

—Jason Crane

Jason Crane hosts the online jazz interview show The Jazz Session (http://thejazzsession.com) and writes poems at http://jasoncrane.org. His first book, Unexpected Sunlight, is forthcoming from FootHills Publishing.

It’s been a year since that goddamned horse died
and I have yet to pick up the pieces.
It brought me water on down that road.
It took the tarp with buck’d teeth and made a tent

by lifting it over the low branches of a nearby tree.
It’s been a year since that goddamned horse died
and I’ve used all the lessons he taught me
during our time together braving the elements.

My right arm has burned off from the sun’s radiation
and I can no longer call out at night in pain like I used to.
It’s been a year since that goddamned horse died
from swallowing the last of the Brita filters.

And even if having clean water did nothing
it made me feel safe, like we were able to improve our
own condition. It’s been a year since that goddamned
horse died. Triple crown I lost my body, mind, and soul.

Amy Lawless’s first book of poems, Noctis Licentia, was published by Black Maze Books in 2008. Her poems have recently appeared in Sub-Lit, Scapegoat Review, The Paramanu Pentaquark,Forklift, Ohio, Portable Boog Reader 3, Agriculture Reader, Radioactive Moat, Pax Americana, Sink Review, and Barrow Street. Lawless holds a degree in journalism from Boston University and an MFA in poetry from The New School. She  teaches at John Jay College, and lives in Brooklyn. For more about Amy, check out her blog, (F)LAWLESS.

To honor the first day of National Poetry Month, I want to share this poem by Bill Wadsworth — the progenitor of NPM, launched in 1996. Bill is an extraordinary writer, advocate and teacher of poetry — I’m profoundly grateful for the work he’s done and continues to do.

For more information about Bill, visit http://www.poets.org/poet.php/prmPID/1650 and for more information about NPM: http://www.poets.org/page.php/prmID/41

Read “The River Twice” as three poems: the indented lines first, the italicized lines second, and together for an astonishing whole. This first appeared in Purchase College’s The Submission magazine, Spring 2008, edited by Natalie Eilbert.

The time has come to reveal (I think) the source (for those who don’t already know) of The The Poetry’s name, namely, “The Man on the Dump” by Wallace Stevens.  Here is a link to the full text.

Considering this, I wrote a little blurb to explain what this virtual forum is/might be.  Here that is:
~
The The Poetry Blog takes its name from Wallace Stevens’ poem “The Man on the Dump,” which ends with a question and an answer: “Where was it one first heard of the truth?  The the.”  The The is a forum for ideas on poetry and the poetic aspects of fiction, non-fiction, music, visual art, film, and “the things / That are on the dump (azaleas and so on) / And those that will be (azaleas and so on).”  Our contributors are writers, readers, artists, critics and so on.  Our readers are writers, readers, artists, critics and so on.  All are people on the dump, where “one sits and beats and old tin can, lard pail. / One beats and beats for that which one believes. / That’s what one wants to get near.”  We hope that The The will help us all get a little closer.
~

One of the things that may irritate a post structuralist reader about Auden is that he delights in “knowing” things-even those things which are ugly and disastrous to know. For example, his greatest praise of old masters: “About suffering, the old masters they were never wrong.” Auden likes being right. He likes being elegant. He likes making a point in as clever a way as possible. He even likes his ambiguity to be gin clear. This annoys readers, especially those who come out of the post modernist wood work to feed on endless non-commitments, non-linearity, statements that dissolve and are contradicted or made impotent by the sheer process of deconstructing one’s deconstructions. Stevens claimed that a great disorder is an order (well ahead of chaos theory). Post structuralism with its absolutist hatred of saying anything is, well, to put it in the language of my forbears: fucking boring. Auden, at his worst, is also a bore. He can be pedantic, over bearing, a spewer of opinions, a snob, a writer of high falutin doggerel. At his best, he is the greatest poet to come out of the formalists, and for the same reason Ashbery is probably the greatest poet to come out of the post structuralists: because he is good at saying what he enjoys saying, because he takes great delight in his own utterance for its own sake, because no old bone wearies him if he can find a happy way to chomp on it. This is no small virtue. If a poet is not enjoying his own spew, what damned good is he? Auden’s ability to wrap things up annoys a reader only if that reader is deaf to the sonic joy of Auden cracking wise. The pleasure in Auden is not in what he says, or even in how he says it, but in the sheer pleasure he takes beyond how or why—a pleasure that, in his best poems, becomes a palpable presence throughout. When I want to witness a poet enjoying himself I turn to Ashbery or Auden. With great craft and skill, they sit in their respective sand boxes, and both are infantile in the best sense. At any rate, lets inspect one of Auden’s more famous poems,the imitation ballad, “As I Walked Out One Evening.”

As I walked out one evening,
Walking down Bristol street,
The crowds upon the pavement
were fields of harvest wheat.

And down by the brimming river
I heard a lover sing
Under an arch of the railway:
“Love has no ending.”

We are in traditional ballad country the second Auden writes “As I Walked Out One Evening” (see “The Streets of Laredo”). He is not mocking the structure or form of the ballad (except perhaps the way a lover would tease his beloved); he is reveling in the cliche. He trusts his own ability to have fun with cliché (something Ashbery also trusts). He is using what is called “eights and sixes,” a tetrameter line followed by a trimeter; and, to give it the “feel” of an informal ballad, he is augmenting or truncating the syllable count, dabbling in hypercatalectic, and acatalectic lines (one syllable more or one less). But of all the fun he is having in these first two stanzas, I’m sure nothing pleased him more than the wrench rhyme, worthy of a hip-hop MC of: “sing/ending.” Auden, in the next two stanzas, delights in one of the oldest tricks in the book: adynaton, the lover’s appeal to the impossible, the great brag of the lover plighting his troth:

“I’ll love you, dear, I’ll love you
Till China and Africa meet,
And the River jumps over the mountain
And the salmon sing in the street,

“I’ll love you till the ocean
is folded and hung up to dry
And the seven stars go squawking
Like geese about the sky.

“The years shall run like rabbits,
for in my arms I hold
The flower of the ages,
and the first love of the world.’

First, note the vowel rhyme of hold and world. And as for the adynaton,such wonderful boasts no longer exist in our poetry, which shows its sad and tragic “humility” to be far more arrogant and stingy than this delight in the lover’s form of boasting hyperbole. Only in songs does this sort of boast still thrive, for example, when Tom Waits insists: “I’d shoot the moon for you.”

Auden can’t let the lover triumph. Modern nihilism must rear its ugly head, or is it modern? The doom of all young love is a common subject of Latin and Greek, and almost all ancient world poetry. Auden knows the difference between originality and novelty. Novelty can only be interesting once, the first time. Originality is that which is suddenly ancient, and anciently sudden. Orignality has a nomative power, and can be intersting and pleasurable again and again because it manages to touch upon origins as well as news. The worst that can be said for pre post modern poetry is that it lacks the surprise of novelty. The worst that can be said for post modernist poetry is that it opts for novelty and confuses it with originality. I do not believe in cliched tropes. A trope can be tired and hackneyed only if the poet lacks the energy to enliven it. Carpe diem is still trembling in the shadows, waiting to be felt up by a daring poet. At any rate, Auden takes great delight in disillusioning the lover. Some of those stanzas:

“In head aches and in worry
Vaguely life leaks away,
And Time will have his fancy
Tomorrow or today.

“The glacier knocks in the cupboard,
The desert sighs in the bed,
And the crack in the tea cup opens
A lane to the land of the dead.

The images here would be surreal if they were not used to a purpose, but they are far from the effect of surreality which is to tweak the unconscious, the intuitive or sensing faculties—the irrational. This is the rational, didactic use of absurdity through thought and feeling to make a point, and the point is pretty much the same point made when Nash informs us that “Helen’s dust” stops up a bung hole: love is doomed and time ravishes even the most powerful passions.

This aint news, but it is a ritual of “giving the bad news.” which we can tell the poet puts all his craft and pleasure toward. A ritual can be beautiful, even pleasurable by dint of the joy and liveliness with which we perform it, and invest our time in it. To say a truth over and over again is to find the ritual that will make that truth, however awful, portable, and somehow, even more than bearable.

What Auden does in the final stanza, after having time destroy the lover’s troth, is return us to the cosmic impersonality of the river:

It was late, late in the evening.
The lovers they were gone;
The clocks had ceased their chiming,
And the deep river ran on.

This gives the poem the sufficient modernist chill it needs to be more than merely an imitation of ballads, but the real worth of it lies in Auden never believing for a minute that the tropes can be exhausted. How can one exhaust the ancient fear and fever of the blood, the dread and hopelessness of “I’ll love you forever?” Be careful, students, that your sophistication and stupidity in the dadaist, slacker, cynical, “non-linear” sense does not blind you to the pleasures of true nihilism: yes, I know, I know, and on the thousandth point of knowing, my heart still breaks.

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Concerning all the recent discussions about memory, recitation, etc, I thought I would try it in my own way. I should disclose that I never recite my own poems from memory at readings. I think it is corny, weird, it makes me uncomfortable, and frankly, to spend that much time memorizing your own work is kind of sick.

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I want to rebel against my own ideas.

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I tried to write a poem entirely in my head and memorize it. I would never write it down. All editing would take place in my head. Line for line. The entire building and reconstruction could only exist abstractly. No writing as an aid. I would memorize the final poem. I would recite the poem and that is how it could live.

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This is how it went: First I had a few lines, but I could only get at it by starting from the beginning over again each time. I imagined the line breaks and pauses to help remember it. I decided maybe I would to add three lines a day. I would imagine the form entirely in my mind. Maybe 12-16 lines total. A good length lyrical poem. It would be difficult.

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I felt I was cheating. Picturing a form, with lines, line breaks, and any visual form seemed to me a kind of writing. Since I wasn’t marking anything down, why should there be “lines?” It’s just words in my head. There was also no need for form. When you recite a poem that you’ve seen on the page, imagining the stanzas certainly helps, but for this particular project (and yes it was becoming a project and yes I hate projects!) I felt that if I pictured lines, or stanzas, then that would essentially be the same as writing it on paper, because those forms are meant to see written and seen as a way of organizing thoughts on a page. To be true to the imaginative strength of the mind, it would just have to be a string, the rhythm of which would intuitively generate itself as I repeatedly said the poem allowed or thought it.

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To order these words, these thoughts, I began imagining the actually words. Not just the sound. I saw the words in sequence. But to fix the words in an order seemed to me to always constitute a kind of writing. I felt I was cheating. It was also the kind of writing I could not get space from. It would be impossible to reflect upon the poem if I constantly had to carry it around. It would never sit and get cold. I could never see how shitty parts of it were and try and mend it. I got upset. It was becoming a drag on all accounts.

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I decided that the only way this poem would be good, and interesting, and truly exist on the level, was if I created it anew from nothing every time I recited it. I would have to make up a new poem everytime. That would keep it from becoming this totally limiting enterprise. Because to go from memory is so safe…the only danger is forgetting, and thats more of a social anxiety than actually having anything to do with whats at stake in the greater art of it. Because to memorize my own thoughts, as megalomaniacal and funny an idea as it was, was really just writing another poem, and it wouldn’t be good. I am very happy to have moved on from this ludicrous idea.

A Green Crab’s Shell

Not, exactly, green:
closer to bronze
preserved in kind brine,

something retrieved
from a Greco-Roman wreck,
patinated and oddly

muscular. We cannot
know what his fantastic
legs were like–

though evidence
suggests eight
complexly folded

scuttling works
of armament, crowned
by the foreclaws’

gesture of menace
and power. A gull’s
gobbled the center,

leaving this chamber
–size of a demitasse–
open to reveal

a shocking, Giotto blue.
Though it smells
of seaweed and ruin,

this little traveling case
comes with such lavish lining!
Imagine breathing

surrounded by
the brilliant rinse
of summer’s firmament.

What color is
the underside of skin?
Not so bad, to die,

if we could be opened
into this–
if the smallest chambers

of ourselves,
similarly,
revealed some sky.

-Mark Doty

I’m currently in a class concerning Animal Studies in the Comparative Literature Department in which the word “anthropomorphism” is a swear word.  The argument is that anthropomorphism is anthropocentric, and thereby undermines the possibilities of the animal’s consciousness by placing the human in a superior (and dominating) role.  It should be noted that while I think this all well-argued and slightly interesting, when it comes to poetry—it’s a large load of nonsense.  We’d have to knock out some pretty significant poems in our extended canon were we to castigate anthropomorphism the way they are proposing. At least for me, and for a long trailing history of ancestor poets behind me, anthropomorphism is the stuff I (we) live for.  And if it’s a profane thing, then @#*& you, Comp Lit people. (It should also be noted I am the only poet in that class, and I am looked at at least twice during every session as if I were a really cool but leggy and crawly beetle that you’re grossed out by but can’t look away from.)

But you haven’t failed me completely, pedants.  You’ve brought into the sphere of my vocabulary a new term that I am finding far more interesting and applicable than the “horrors” of anthropomorphism: ZOOMORPHISM.  Of course it exists the other way around!  Why shouldn’t we, egotistical, dominating humans that we are, take animal traits and ZOOMORPHIZE ourselves to further some exploration of consciousness, personality, experience, etc.?  Now this—this is good.  And now that you bring it to my attention, my esteemed scholars across the way, it’s obvious that it’s zoomorphism that is the most interesting, and the poetry that has been most profoundly affecting for me is that which ventures to gain perspective by putting on another set of eyes entirely not human, kicks up the dirt with its daring hooves, flares its nostrils and doesn’t give a damn about drooling or snorting.

And then comes Mark Doty, with this genius little (enormous!) poem, which anthropomorphizes a crab shell to aid in the zoomorphism of the reader.  I mean really, the man has DONE IT.  My temptation to pass out this poem to my peers in Pedant Class as a semi-guerilla act of poetry warfare is barely tameable.  But I’ll refrain from my nerdling rebellious impulses and just be tickled by the possibilities of what once could have been in this grand ruin of a crustacean edifice that Doty has given me.  Beyond that imagining—beyond “what color is the underside of skin?”—just those remains, just that royal palace of a shell, with “such lavish lining!” is so enchanting, so incredibly enticing that I can’t help but want to go beach combing this instant and stare into a crab shell as I never have before (Wanting a reflection?  Wanting my own to make a home out of?).  This is the kind of poem that changes how you proceed in the world after you read it.  A crab shell is NEVER just a crab shell after this, nor should it ever, ever, ever be.  If you catch my (sea) drift.

If ever I was called a hermit crab by overly-social friends pressing me to leave my precious lair (and oh, it has happened!), I wish I’d rebutted with this poem. Who would ever want to leave their shell if it were anything like that shell? (Though Doty’s crab isn’t a hermit crab, probably just a common littoral crab. Still.)  Magical creature that he’s shown us!  Imagine it in life, scuttling around, clickety-clacking on shore pebbles, a little magician with electric green wands!  Sigh.  Call me crabby, call me (a) hermitic (crab), certainly call me crazy—but thank you, my dear Mark Doty: I forever welcome it all.

So there’s always this double duty, neither to make the best the enemy of the good, nor to make the good the enemy of the best. Scylla and Charybdis. The reason I admire Johnson and Eliot and Empson so much – the thing that holds them together – is that they all think that doing the right thing is steering between two equally dangerous opposite bad things.

Do you remember that Eliot was billed as giving a talk on ‘Scylla and Charybdis’ and he’d realized that they’d simply misunderstood. That is, when he was asked what he was going to talk about, he’d said that these things were always a matter of Scylla and Charybdis and so forth, and this became the title of the talk so that we got a talk on this subject because they’d slightly misunderstood what he was saying. But it’s true to him.

And Samuel Johnson is profound on this. He asked why are we more lenient towards foolhardiness than towards cowardice. If you think of them as being equidistant from the right thing, two opposing faults. Why are we more lenient to the one? And the answer is because it is self-correcting. If you’re foolhardy, you bruise your shins. You find out, you learn from it. If you’re spendthrift, you learn as the miser never does. The spendthrift runs out of money, the miser never runs out of anxiety about money. Equidistant from the true course but one may prove preferable.

We need people to remind us that the good is the enemy of the best and we need people to remind us that the best is the enemy of the good. We need to protect ourselves from the dangers from both flanks.

—Christopher Ricks, interview from The Literateur Magazine

Something in a title suggests everything you could possibly want to say about a certain topic. As in the example of T.S. Eliot’s lecture entitled “Scylla and Charybdis,” mentioned by Ricks above. The title “The Problem of Style” suggested to me everything I wanted to blog about today concerning the evolution of a poet’s style, something I’ve been thinking about while reading through Robert Hass and Henri Cole to prepare book reviews about their new selected works.

Critics and academics—much maligned creatures to whom we should at least be grateful for having something to endlessly argue about—tend to regard style as a fixed thing, an external lacquer or recipe that poets consciously choose, modify, and have to then be evaluated for a/ which style they picked, b/ how well they handled it, and c/ at what expense Style X precluded Y or Z. Two conversations from memory substantiate the attitude I’m talking about, both by formidable minds. Archie Burnett teaching his class at Boston University was talking about John Milton and upon fielding some questions about the make-up of what we identify and label as “The Miltonic Style,” he went on to say “Ah, well, with a great poet like Milton he could have written in whatever style he wanted.” And recently, breaking bread with Daniel Mendelsohn, we entered into a large, hearty and even heated debate on whether or not a writer “sets out to know what he wants to write,”—his point being that whereas an amateur writer may just be throwing darts in the dark, merely provoking “questions,” suggesting possibilities he doesn’t have a finished thought about, the serious and accomplished writer knows exactly what he’s setting out to do, then tackles it with dispatch. I disagree with both of these statements—the first wholeheartedly, the second because of a zillion counter-examples. Milton, supreme artist that he was, wasn’t immobile or unaware of what he was up to, but to think he could have avoided the baroque line, his heightened Latinate phraseology, the robustly complicated syntax, is fanciful. For all his craft and intelligence and arch learnedness, Milton’s rhythmic DNA was predetermined (in a way). People, like poems, are after all a mixture of the given and the made. The made is not what I aim to dispute; but the given needs to be redefined, a little bit.

Style is foremost a tension of contradictions between a writer’s impulses and perception, not an absence of them. In a classical style, a writer’s personality is totally disguised behind the established proportions and prevailing measures of a tradition, or The Tradition, whatever that once meant. In the romantic style, a writer’s style emerges as an indulgence of their impulses and mannerisms that they recognized in past authors and themselves, developing towards “originality.” But originality as we know is at the root of idiocy, of speaking or sounding like someone outside the acquainted norms of the city—the polis. And this is what Samuel Johnson was getitng at when he said in response to a young poet’s manuscript: It is both good and original; the parts that are good are not original, the parts that are original are not good. Johnson, the epitome of the Augustan, classical mindset, looked on idiosyncrasy as a disease, one that had to be tolerated in the presence of a great writer like Swift, great that is for his other qualities, but extirpated in an overrated poet like Thomas Gray, whose diction was remote and eccentric. (I for one love Swift and Gray.)

And yet as Richard Howard has brilliantly written in his essay on Emily Dickinson, it is precisely a writer’s peversities that can make him so good, not in lieu of them, but directly because they were listened to, indulged, cultivated. He argues, shrewdly, that Dickinson’s dashes, capitalizations, peculiar rhythms, coy slant-rhymes are her genius as a poet, not provincial blemises that happen to sit on a great linguistic talent. The opposite point of view can be heard in Eliot’s essay on Blake, where the attitude is: Yes, this man was a great poet, but alas also a home-spun weirdo, who had these troublesome peculiarities that prevented him from being as important as good ol’ Dante. Harold Bloom, dissenting from Eliot (shocker!) has fired back, emphasizing in ‘The Western Canon’ (perhaps tipping the see-saw too much in the opposite direction) that Dante’s centrality to Western literature relies on his extraordinary brazenness, as when he ciphons Beatrice into eternal salvation history (an argument that is found also in Emerson).

But I am digressing between the Classical and Romantic trap, when what I want to talk about is what is akin to both of these modes, intrinsic to writing any poem, regardless of what the tradition it plugs into is.

When we think of style as a pathology—we do artists an injustice, to their deliberation and foresight, as well as to the range of a poet proven over time. Stevens writes in his characterstic mode for his entire life, but between ‘Harmonium’ and ‘The Rock’ the conscious artisan in Stevens decided to become more pared down, less jumpy in his adjective use, and honors the strain throughout his life to speak in the simple sentence.

When we think of style as a choice—we are forgetting that sensibilities are vast and complex and have so many unconscious ingredients, dispositions and biases at work, it’s impossible to say simply why W.C.W. favors the short, clipped line, and Frost keeps to iambic pentameter. One man’s nerves cannot stand noise, another bathes in distortion and static.

One of the problems of style then is when a writer acknowledges a past tendency as a mechanism no longer adequate, or pleasing, or just. True, for the precocious or immensely talented, perhaps this gap is indiscernable, or much shorter—as in a Merrill, who began writing as refined and polished as his very last works. Another exception is the occasional, and rare, writer who assimilates so easily other people’s styles, he can seemingly switch between them—but then isn’t that method their style? Joyce, Eliot, Ashbery: they don’t so much have different styles as styles with immense difference built into them. In Joyce, you see these as discrete effects as you follow his career towards a sea of chaos—but the Joycean tone, flippant, somewhat verbose?, and resigned, that’s there throughout. Eliot willfully goes against his inner discord, his turmoil and polyphony of voices that he discovered in ‘The Waste Land,’ then labors towards a ‘style’ in the ‘Four Quartets’ that is seamlessly regulated, and unified. Ashbery took the opposite route, and after he mastered in his third and fourth books the possibility for disjunctiveness in vocabulary, narrative and form—he has kept going, on and on and on, to this day.

It appears to me that everything that I am saying is grossly redundant, and obvious. So that’s a good place to stop.

The problem of style exists, larger than the unconscious and conscious distinctions I’ve circled around. One way of seeing poems must be not as answers to questions, solutions for the puzzle, or resolutions to the problem—but as a way to discover what the questions are, what puzzles need working out, what problems each writer has in store. If we’re lucky enough, though the problems, like our pathologies, never go away—we do get to master them, instead of them mastering us. That is, one hopes.

Armond White comments on the decline of film criticism:

Journalistic standards have changed so drastically that, when I took the podium at the film circle’s dinner and quoted Pauline Kael’s 1974 alarm, “Criticism is all that stands between the public and advertising,” the gala’s audience responded with an audible hush—not applause.

Over recent years, film journalism has—perhaps unconsciously—been considered a part of the film industry and expected to be a partner in Hollywood’s commercial system. Look at the increased prevalence of on-television reviewing dedicated to dispensing consumer advice, and of magazine and newspaper features linked only to current releases, or to the Oscar campaign, as if Hollywood’s business was everybody’s business. Critics are no longer respected as individual thinkers, only as adjuncts to advertising. We are not. And we should not be. Criticism needs to be reassessed with this clear understanding: We judge movies because we know movies, and our knowledge is based on learning and experience.

“Truth is the first casualty of war,” runs an old axiom of journalism. In the current war between print and electronic media, in which the Internet has given way to Babel-like chaos, the critical profession has been led toward self-doubt. Individual critics worry about their job security while editors and publishers, afraid of losing advertisers and customers, subject their readers to hype, gossip, and reformulated press releases—but not criticism. Besieged by fear, critics become the victim of commercial design—a conceit whereby the market predetermines content. Journalism illogically becomes oriented to youth, who no longer read.

Commerce, based on fashion and seeming novelty, always prioritizes the idea of newness as a way of favoring the next product and flattering the innocence of eager consumers who, reliably, lack the proverbial skepticism. (“Let the buyer be gullible.”) In this war between traditional journalistic standards and the new acquiescence, the first casualty is expertise.

By offering an alternative deluge of fans’ notes, angry sniping, half-baked impressions, and clubhouse amateurism, the Internet’s free-for-all has helped to further derange the concept of film criticism performed by writers who have studied cinema as well as related forms of history, science, and philosophy. This also differs from the venerable concept of the “gentleman amateur” whose gracious enthusiasms for art forms he himself didn’t practice expressed a valuable civility and sophistication, a means of social uplift. Internet criticism has, instead, unleashed a torrent of deceptive knowledge—a form of idiot savantry—usually based in the unquantifiable “love of movies” (thus corrupting the French academic’s notion of cinephilia).

He continues by deriding the blogosphere:

This is the source of the witty riposte or sarcastic put-down’s being considered the acme of critical language. The Algonquin Round Table’s legacy of high-caliber critical exchange has turned into the viral graffiti on aggregate websites such as Rotten Tomatoes that corral numerous reviews. These sites offer consensus as a substitute for assessment. Rotten Tomatoes readers then post (surprisingly vicious, often bullying) sniper responses to the reviews. These mostly juvenile remarks further shortcut the critical process by jumping straight to the so-called witticism. This isn’t erudition; as film critic Molly Haskell recently observed, “The Internet is democracy’s revenge on democracy.”

Yikes. This isn’t the first time White’s burned all his bridges:

[Pauline] Kael’s cutting remark cuts to the root of criticism’s problem today. Ebert’s way of talking about movies as disconnected from social and moral issues, simply as entertainment, seemed to normalize film discourse—you didn’t have to strive toward it, any Average Joe American could do it. But criticism actually dumbed down. Ebert also made his method a road to celebrity—which destroyed any possibility for a heroic era of film criticism.

At the Movies helped criticism become a way to be famous in the age of TV and exploding media, a dilemma that writer George W. S. Trow distilled in his apercu “The Aesthetic of the Hit”: “To the person growing up in the power of demography, it was clear that history had to do not with the powerful actions of certain men but with the processes of choice and preference.” It was Ebert’s career choice and preference to reduce film discussion to the fumbling of thumbs, pointing out gaffes or withholding “spoilers”—as if a viewer needed only to like or dislike a movie, according to an arbitrary set of specious rules, trends and habits. Not thought. Not feeling. Not experience. Not education. Just reviewing movies the way boys argued about a baseball game.

Don’t misconstrue this as an attack on the still-convalescent Ebert. I wish him nothing but health. But I am trying to clarify where film criticism went bad. Despite Ebert’s recent celebration in both Time magazine and The New York Times as “a great critic,” neither encomium could credit him with a single critical idea, notable literary style or cultural contribution. Each paean resorted to personal, logrolling appreciations. A.O. Scott hit bottom when he corroborated Ebert’s advice, “When writing you should avoid cliché, but on television you should embrace it.” That kind of thinking made Scott’s TV appearances a zero.

While White regularly gets pegged as an intelligent troll, my personal take is that he usually hits the critical nail on the head, even if he comes across as disproportionately strident. On the other hand, his rage is perfectly understandable when you consider that Pauline Kael and Andrew Sarris are allowed to fall into the same categories as most “critics” today.

In other news, my very smart and artistically talented friend, Gene Tanta, has started his own blog about…well, it looks like everything so far.

I’m sitting up in bed, or on the couch, as it were, where I have been trying to sleep off the slew of vodka-and-tonics I downed last night at our Sand Paper Press reading here in Portland.  Shawn Vandor, whose Fire at the end of the rainbow was just reviewed over at Dossier, and I read at 220 Salon.  Happily I had the chance to meet and fraternize with thethe’s own Evan Hansen.

Happily too I have had the chance to experience a temperate spring.  In my new adopted home we have a desert spring, which is an entirely different beast.   Anyway, it’s been good to see green grass against mud and cherry trees in blossom.  All of this reminds me of the wonderful lineage of cold muddy spring poems.  There’s ‘Spring and All’

By the road to the contagious hospital
under the surge of the blue
mottled clouds driven from the
northeast—a cold wind. Beyond, the
waste of broad, muddy fields
brown with dried weeds, standing and fallen

patches of standing water
the scattering of tall trees

All along the road the reddish
purplish, forked, upstanding, twiggy
stuff of bushes and small trees
with dead, brown leaves under them
leafless vines—

Lifeless in appearance, sluggish
dazed spring approaches—

They enter the new world naked,
cold, uncertain of all
save that they enter. All about them
the cold, familiar wind—

Now the grass, tomorrow
the stiff curl of wildcarrot leaf

One by one objects are defined—
It quickens: clarity, outline of leaf

But now the stark dignity of
entrance—Still, the profound change
has come upon them: rooted they
grip down and begin to awaken

And then there’s ‘A Cold Spring,’ poem that adds its title to the marquee of Elizabeth Bishop’s 1955 updated North & South.  Unfortunately the wintereb is not obliging me, and I cannot find a text of said poem to paste and copy, nor can I manage to get myself out of bed, or off the couch rather, to open the actual book, which is about five feet away from me on one of Shawn’s shelves.  Truth be said, I have been consumed with convalescence lately; well, not consumed with it actually, more consumed by the idea of it.  But you never know when the time will come.   In fact, several people have been recommending Denton Welch’s In Youth Is Pleasure to me lately.

Anyhow, I’m still stuck in this rhyming couplet thing; I can’t tell whether or not it’s a good idea to post my own poems here; especially this one, which I literally just wrote; but nor can I see why this can’t be a forum for, eh, I hate to call it experimentation, or even worse, abusing the reader, but rather using and misusing this poetry stuff in our fraught digital kingdom.

Oh yes, back to the couplets.  Here are some more.  And to further dispel the mystery, I tried to do these while cycling through the vowel-sounds, or vowel-name sounds: ae, ee, aye, oh, you.  A little like Rimbaud, I guess, but without the intimidation.  So, throat cleared, couplets, voyelles, et le printemps froid:

Here in Portland another day
begins, the sky is the color of spring clay
and in fact it is spring, see
the blossoming tree
outside the window?  The sky
is the color of a sigh.
The blossoms show
that flowers too can mimic snow,
and fall, powdering the air they fall through.
The birds seem to have no clue:
can it be said that they pray
for wings they use to flay
the air and so are free?
Their wings must act the key
to a door locked to the sky,
locked no matter how hard humans try
to stick an intrepid toe
through it.  Unlike the winterland show
of crystallized precipitation, the blue
provides no backdrop to our dreams, who
dance against open black highway
of orbits at rushing play.
Their flight is galaxy,
not of this world; while the birds are free
to roost and be shy,
and only when they die
do they understand how gravity is foe.
One falls lifeless to the petals––or are they snow?
Armies of gust, the white specks form a crew.
Clouds retreat.  The Portland sky is blue.

A.
People talking without speaking
People hearing without listening
People writing songs that voices never share…

-Paul Simon

Music, I regret to say, affects me merely as an arbitrary succession of more or less irritating sounds….
-Vladimir Nabokov

To my wife Anne, without whose silence this book never would have been written.
-Philip K. Dick, dedication page from The Man in the High Castle

B. If you place two or more people in a lobby, they will produce words that string together discussions regarding recent changes in weather.  If you put one person in a lobby, he or she will hum a tune no one–not even he or she–knows, atonally and incessantly.

C. This is a cat named Silence.  He meows at the door as I write this.

Silence on "Silence" by John Cage

In the Brooklyn apartment where Silence lives, a man came to look at a room for rent.  The human tenants explained to the man about daily tasks.  “We all contribute,” one said, “when it comes to Silence.”

D. My grandfather tells the story of himself as a boy, talking in class.  “Schweig?” the teacher purportedly said, “SCHWEIG!”

E. Somebody in the lobby: “Did you know that ‘Silent’ is what your name means?”  Somebody in the lobby: “What are you writing about?”

“You are invisible,” the computer tells me.

John Cage

F.
(I have nothing to say

and I am saying it and that is

poetry as I need it.)

G. And there was the time when Charles Wright walked in, sat down and said, “Instead of workshop today, I am going to read from this,” and he held up a book whose cover said, SILENCE.  Charles opened the book and started speaking.