tag:blogger.com,1999:blog-47643094369828367882024-03-05T13:15:55.703-08:00Cruel Garters BlogCruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-4764309436982836788.post-60998659253247492522015-05-13T20:57:00.004-07:002015-05-13T21:08:21.591-07:00New Marks Are Made<div class="MsoNormal">
<b><span style="font-size: large;"><span style="font-family: 'Courier New', Courier, monospace;">Back into the pages of </span><i style="font-family: 'Courier New', Courier, monospace;">Leaves </i><span style="font-family: 'Courier New', Courier, monospace;">(1855) recently and once again I’m taken by the space
Whitman attempts to carve out.</span><span style="font-family: 'Courier New', Courier, monospace;"> </span><span style="font-family: 'Courier New', Courier, monospace;">He
asserts a priority of the “demonstrable” over the “mythical”, claiming that
“mark[s]” are made “out of any times!”</span><span style="font-family: 'Courier New', Courier, monospace;"> </span></span></b></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Could be today.<span style="mso-spacerun: yes;"> </span>Could be in a garage, basement, or “upper
room”.<span style="mso-spacerun: yes;"> </span>Could be over a diner [sic]
table.<span style="mso-spacerun: yes;"> </span>Could be through the slog of
devoted work -- or the luck of happenstance when x variables coincide at a
given time and place. <o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Could be just about anywhere, anytime, or not,
but often when people head in the direction of narrative or myth, compelling as
it is, they can miss the material and spatial.<span style="mso-spacerun: yes;">
</span>There is a literalism or minimalist documentary orientation that can
slip from mere archiving into a sublime.<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>That’s part of what Whitman’s up to as he makes
lists of observations of life in America.<span style="mso-spacerun: yes;">
</span>The empirical slides into the liturgical, not of yesteryear but of What’s
Happening Now.<span style="mso-spacerun: yes;"> </span>As he puts it, it’s not “as
if…what has transpired…in North and South America were less than the small
theater of the antique or the aimless sleepwalking of the middle ages!”<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>When Whitman talks about “America” or
“Americans”, he’s talking about a new way of being human that isn’t limited to
a particular geography, ethnicity, or government (though it may be in or from
the Americas that it emanates) – because he talks about a certain way people
tend to be here:<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>“Their deathless attachment to freedom…their
self-esteem and wonderful sympathy…the air they have of persons who never knew
how it felt to stand in the presence of superiors” – where the President takes
his hat off to the people and “not they to him”…and “these…are unrhymed
poetry”.<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Wittingly or not he’s making a
case for what makes America not only rooted in the Enlightenment and
Romanticism but also in ways of life that existed on these continents prior to
Columbus (see Charles Mann’s <i style="mso-bidi-font-style: normal;">1491</i>).<span style="mso-spacerun: yes;"> </span><o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>I think of an ecstatic energy, Whitman’s “roughs”,
the “nonchalance”, and “the tremendous audacity” that still somehow works hand
in hand with “wonderful sympathy”.<span style="mso-spacerun: yes;"> </span>It’s
like Iggy Pop meets Carl Rogers’ “unconditional positive regard”.<span style="mso-spacerun: yes;"> </span><o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Now after what people call America has been
in full force culturally for many years, it can start to sound like a blast
from the 19<sup>th</sup> century past when he exclaims that we need not constantly
turn “east” for our inspiration:<span style="mso-spacerun: yes;"> </span>“As if
it were necessary to trot back generation after generation to the eastern
records!”<span style="mso-spacerun: yes;"> </span><o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Though now if you go east from Europe toward the
Americas, you end up at the Pacific Rim and back around again to Africa and the Fertile
Crescent.<span style="mso-spacerun: yes;"> </span>Then again as
people from all around the world come and go, new marks are made.<o:p></o:p></b></span></div>
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-71545576720049375952015-01-27T13:10:00.000-08:002015-01-27T13:10:21.720-08:00<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: large;">A Craving for “Poemness”</span><o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>I’ve been reading Andrei Codrescu’s <i style="mso-bidi-font-style: normal;">A Craving for Swan</i>, specifically, a short piece of lyrical prose
called “Bear with Me” that questions how much “bearness” remains within the
black fur and red sinews of the twentieth century bear. Codrescu expands upon
Soviet writer Andrei Bitov’s question: “Isn’t It strange that we make more and
more books with fairy tales and pictures about wild rabbits and wolves and
foxes, and that we make fish and reindeer and teddy bears out of rubber . . .
[that our] children already live in a world where there are thousands of times
more toy animals than there are animal animals.” It all makes me wonder how
much “poemness” the twenty-first century poem delivers.<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>At the risk of sounding reactionary, sometimes late at
night, plagued equally by fatigue and restlessness, I worry that there’s not
much poem left to our poems. I long for that encounter with a stanza that arrives
dressed in its blue collared oil-change shirt or even its Walmart smock, a
stanza that has watched Jerry Springer once too often, that might share a place
in our collective consciousness with some jive <i style="mso-bidi-font-style: normal;">Avengers</i> sequel, but a stanza that somehow, in its own unique
post-post modern way sings, Oh “Westron wind, when wilt thou blow / The small
raine down can raine.”<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>An unrepentant Platonist at heart, I have to admit that I
feature poetry as being out there, out with the wind and rain. In a 1976
interview in <i style="mso-bidi-font-style: normal;">Skywriting</i>, the late
Russell Edson gets at where poetry just might be: “If the image can stand on
its own, then you’ve externalized it. But there are poets, I’m not going to
mention any names now, whose very painful poetry seems to depend on <i style="mso-bidi-font-style: normal;">their</i> existence.” I like how complex the
notion is, what might stand, who might notice, and that process only hinted at by
the verb “to externalize.”<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><span style="mso-tab-count: 6;"> </span>–
G.F.A.</b></span><o:p></o:p></div>
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-46275023759616411552014-09-23T21:10:00.000-07:002014-09-23T22:01:00.377-07:00Reality Riffs<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span>
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<span style="font-size: large;"><span style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><b>I've been thinking again lately about worlds we compose in our
minds vs the "real world out there". Once we get into human symbol
systems (technically “sign” systems according to the semioticians), all or many
bets are off in terms of limitations based upon coherence with empirical
reality. And since sometimes, perhaps often, the whole point of
engaging in some symbolic worlds is to deviate from, replace, or largely defy
reality, then no surprise, they do. It’s possible to enter a
symbolic world, engage in its rituals and lingo, follow its codes and
experience the affective – and sometimes intellectual – payoffs that they may
facilitate.</b></span></span></span><br />
<span style="font-size: large;"><span style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></span></span>
<span style="font-size: large;"><span style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><b>I think of the reality defiance of Cervantes's Don Quijote, the
composed worlds within composed worlds as in the Forest of Arden in <i>As
You Like It</i>, or the riffs and intonations of Iris DeMent in both word and
sound. Video games apply. Live music concerts or what's between
your ear buds. We step across thresholds of structures and do what would be
very funny things with our bodies that within that context make absolute sense.
And, then again, "the real world", "mind", and other
lingo like this, important as they are, are also abstractions. The
"real world out there" is already "in here", and we're
riffing and intoning them how we do as we do every moment.</b></span></span></span><br />
<span style="font-size: large;"><span style="color: black;"><span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></span></span>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>-bbc</b></span><br />
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-71397045687329553192014-07-14T15:03:00.000-07:002014-09-23T21:27:01.957-07:00“Mr. & Mrs. Duck Dinner”<div class="MsoNormal">
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>I’ve been reading Russell Edson’s “Mr. & Mrs. Duck
Dinner” and realizing just what a hit American arts and letters took when we
lost Edson this April. The prose poem challenges the ordinary as it commits to
a novel scenario: <o:p></o:p></b></span></div>
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say is calling?<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Mr.
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>It’s not allegory, exactly. It’s not dark humor, exactly.
But it is, as it is nowhere else in literature, an interspecies couple who hire
themselves out as a duck dinner. “My husband will need plucking; I can undress
myself” announces Mrs. D. “We’ll have the kitchen girl defeather your husband,”
offers the butler. The absurd? The farcical? I taught this poem recently, and
we all agreed that it’s a scene a certain British comedy troupe would have made
short work of. The Python crew, however, would have missed the pathos, quickly
cutting to Terry Jones nude at the piano as soon as the weirdness started to
loop back upon itself. <o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>Edson doesn’t take the easy way out here. In spite of – perhaps
because of – the absurdity, we get the wiriness, the hurt. I suspect it’s the
civility with which the woman carries out her unusual task that breaks my heart
in the end. She carries out her duties within the erudition that comes from too
many servants, too much culture, too many careful ways of saying things. There
are those who can hire out just about anything, and the rest of us who endure
our lot. There are intimacies that need to be addressed and worked out. When
the whole business of defeathering and “rather pretty” kitchen help gets
addressed, our heroine reminds us that we’re not fooling around. We’re all “<i style="mso-bidi-font-style: normal;">professional</i> duck dinners.”<o:p></o:p></b></span></div>
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-4863313253458221052014-05-28T21:05:00.001-07:002014-05-28T21:18:48.253-07:00“This Year I Mean to Be an Elephant”<style>
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<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;">I have several favorites from Wendy Xu’s collection <i>You Are Not Dead</i>,
one of them being “This Year I Mean to Be an Elephant.” I am taken by
the direct talk. “I don’t know if you understand me when / I say
hopefully there is a future and we / are both allowed in it.” We’re
chatting, damn seriously, over what could be a kitchen bar, about what’s
been and what’s to be. Or over the telephone, long distance. <br /><br /> <span style="font-size: small;">…I mean last year it </span></span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: small;"> was OK just to be flattened by our ideas. </span></span></b></span><br />
<span style="font-size: small;"><b><span style="font-family: "Courier New",Courier,monospace;"> I sat in so many rooms and eventually felt<br /> interesting and not like a chair.</span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"><br />She
<i>worries, expects, thinks, forgets,</i> one by one what’s rushing to mind
now. But these commonplace mental activities take on precise emotional
resonance when we find out what she’s worrying <i>about</i>, expecting,
etcetera. “I worry that when I turn on / the radio this morning it
sounds just like / I expect.”<br /><br />Throughout I get simultaneously the
sense of deadpan, of being bowled over, and of taking off to someplace
unexpected. “Last year I forgot really / embarrassing secrets like how I
am allergic / to regular soap.” After a catalogue of telling me where
she’s at, she sets the mood for “this year”, the year she is “to be an
elephant”:<br /><br /> <span style="font-size: small;"> …Cue all the different kinds<br /> of light and what music makes you feel<br /> not dead. Last night I dreamt about sand.</span><br /><br /><br />-bbc</span></b></span><br />
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</span></b></span>Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-34685912925438853432014-04-28T12:41:00.002-07:002014-09-23T21:30:55.695-07:00"Spackler's Lament"<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><span style="font-family: Courier New, Courier, monospace;"><b>I’ve been reading “Spackler’s Lament” from Karen Skolfield’s
PEN recognized collection, <i>Frost in the Low Areas</i> and wondering just how
inventory becomes litany. Getting from list to poem takes magic. It’s not
enough to walk about noticing the landmarks and goings-on “All over the city.”
Lesser poets have tried, I suspect with copies of <i>Lunch Poems</i> in tow and well
annotated with stars and exclamation points, and they’ve noticed sufficient
detail. Skolfield, however, deftly notices only those details that share
poetry’s center, those that can somehow be
simultaneously here and not here: “rounded edges where hard corners
should reign,” “the emptiness formed by a squirrel’s tail / touching its back,”
“the space between bars at zoos and jails.” Each detail is replaced by another,
which is kind of the point. Each new fascination dances with its own absence.
Languages, “Spanish or Catalan,” are both here and there, beautiful but
transitional. In the end, for all of our skill with words and native knowledge,
we cradle only the shell, “the speckled idea of the bird.”</b></span><o:p></o:p></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b> - GFA</b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Purchase Karen Skolfield's Book:</b></span></div>
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-11021818191808272832014-03-07T20:40:00.000-08:002014-03-07T20:54:40.769-08:00“The Cabinet of Simplicity”<style>
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<b><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: large;">“The Cabinet of Simplicity”<br /><br />Awhile back, Glen Armstrong pointed
me in the direction of Weldon Kees and Kenneth Fearing, two essentials
that never made it into my literary education. There’s an uncanny
familiarity about them, especially reading back to them through the New
York School and others. A favorite for me of Fearing’s selected poems
is “The Cabinet of Simplicity”, which begins as a kind of manifesto, the
kind of manifesto that might actually be acceptable.</span><br /><br /> It will be known as Doctor Barky’s cabinet, a new magic<br /> Something for which there can be no substitute.<br /> May be used as an ornament or worn like a hat.<br /> Neat. Genteel.<br /> Doctor Barky’s patented magic cabinet of strict, strict<br /> simplicity.<br /><span style="font-size: large;"><br />If
others might hold the whole universe in the palms of their hands, Doc
Barky, rather, shoves it all into his drawers, these special drawers as a
part of this special cabinet. <br /><br />What is this cabinet? Could be
his “order of things”. But whatever it is it’s more magical than
scientific. Yet whimsy gives way to “discords struck from violent
streets” and “death” and then, more convincing, to a dark dreamland
where “he cut off his head and gave it to / a girl with stone lips”, her
body “burned from within.” Later he’s “dining on her lips.” Somehow
there appears to be a connection between cannibalizing stone lips by way of a decapitated head and
Barky’s need: “a need to arrange the / world so that he can understand
it, / And still more, to create a fixed world.” I start off liking
Barky from the start with his magic cabinet and supposed naiveté, but by
this point I become horrified by what might happen as he imposes this
“fixed world” if it extends much beyond this cabinet.</span><br /><br /><span style="font-size: large;">But then
each drawer of the cabinet is designated by Barky for this and that, and
his order of things seems tame again. “The doctor has finished. / He
steps back into the shadows forever.” So Fearing asserts, really as a
set up, because candles continue to burn around “the magic box” and “the
mechanical heart draws into itself / The veins and arteries of chaos”
or perceived chaos in Barky’s universe. Fearing has been amping us up
for a final kicker:</span><br /><br /> Comrade, this is no poem,<br /> Who touches this<br /> Touches Doctor Barky’s patented magic cabinet of<br /> certified, strictly guaranteed simplicity and<br /> truth. <br /><br /><br /><span style="font-size: large;">-bbc</span></span></b><br />
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Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-82290127105704283072014-01-13T05:30:00.006-08:002014-09-23T21:30:13.227-07:00"How the Pope Is Chosen"<!--[if gte mso 9]><xml>
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<b><span style="font-family: Courier New, Courier, monospace;">I’ve been reading “How the Pope Is Chosen” by James Tate, a
poem in which one of my clear-headed creative writing students perceived
“metaphors.” Hmm . . . Certain aspects of the poem certainly drop shadows we
would expect cast from other shapes. Pope selection is orchestrated in terms of
poodle selection:<o:p></o:p></span></b></div>
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<b><br /></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">If a
Pope’s hair is allowed to grow unchecked,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">it
becomes extremely long and twists<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">into
long strands that look like ropes [. . .]<o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">Popes
are very intelligent.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-family: Courier New, Courier, monospace;"><span style="font-size: 10.0pt;">There
are three different sizes.</span><o:p></o:p></span></b></div>
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<b><br /></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;">The poodle, the juvenile delinquent and the rugged western
hero can all stand in for the Pope as director Tate checks the lighting and
tapes off marks on the stage.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><br /></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;">For me, however, the poem stands in for and calls our
attention to a certain kind of language at once nostalgic, because we’ve grown
up with it, and ridiculous, because we’ve grown beyond it. We are lulled to
some other psychological state by rhetoric so reassuring that <i>Highlights Magazine</i> should take note:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">growing
up to become a Pope is a lot of fun.<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">All
the time their bodies are becoming bigger and stranger,<o:p></o:p></span></span></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><span style="font-size: 10.0pt;">but
sometimes things make them unhappy.</span><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<b><span style="font-family: Courier New, Courier, monospace;">And the poem, for all of its finely honed humorous barbs,
grows bigger and stranger and more tonally complex. The same lips that slurp
bowls of cream attract black flies. This is no vendetta against Catholicism or
The American Kennel Club, even if their shared pomp is brought into question.
The poem is ultimately about the joy and futility of making meaning.</span></b><br />
<br />
<b><span style="font-family: Courier New, Courier, monospace;">[G.F.A.] </span><o:p></o:p></b></div>
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<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
<div class="MsoNormal">
<b><span style="font-family: Courier New, Courier, monospace;"><br /></span></b></div>
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<b><br /></b></div>
<div class="MsoNormal" style="text-align: right;">
<b><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVfR6rpDOnwgwci21Ipeji5ws3a1mvWeq_RiXOq5VWWwPhf2mHGzKSFcvK8hRFlZozIgpktj51vnB-1Vsoupv9Rw-8wlNJDF6mQNzvxOGrtx9F9zmi1NiLABmiJZBeB55mIf-KXqAn7gU/s1600/06+How+the+Pope.jpg" style="color: #0000ee; font-family: 'Courier New', Courier, monospace; font-size: 13px; text-align: center; text-indent: 48px;" /></b></div>
<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-82790085752577065222013-12-19T00:42:00.001-08:002013-12-19T00:53:17.602-08:00"Xantha Street"<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;">"Xantha Street" is what gets me. Kees has the "angels rise" but it's "on page 289" and even though this is done "splendidly" and "to Heaven", nevertheless "the evening still comes on." </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"><br /></span></b></span>
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;">I go back to that idea again and again of the odd detail or the minor or mundane particular that in a moment takes over the whole scene. Roland Barthes described this as the <i>punctum</i> and Mieke Bal as the <i>navel,</i> among others. </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"><br /></span></b></span>
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;">"The climate of murder hastens newer weeds" and death's all around, you're "frantic, but proud of penmanship. Beasts howl outside; / Authorities, however, keep the pavements clean." </span></b></span><br />
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"><br /></span></b></span>
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;">What's that slide that takes place in existence from what's taken to be important to what's not so that what's not entirely trumps the other and then becomes what is? See page 289. Feel the evening come on. Note the penmanship and pavement. Ponder the bellybutton and laugh, or get the point. Your own point as you see it, a Barthian <i>punctum </i>amidst the <i>studium.</i> -bbc </span></b></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b><span style="font-family: "Courier New",Courier,monospace;"> </span></b> </span><br />
<span style="font-size: large;"><br /></span>
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<span style="font-size: large;"><br /></span>Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-87943239197048665392013-11-22T08:29:00.000-08:002013-12-19T00:45:17.821-08:00"The Smiles of the Bathers"<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><b><span style="font-family: Courier New, Courier, monospace;">I’ve been reading Weldon Kees’ poem, “The Smiles of the
Bathers,” and thinking about the line, “Water and wind and flight, remembered
words and the act of love." It’s a list with seven stressed syllables. Out of
context, and divorced from its perfect pulse, it reads a bit too primal, as if perhaps
the poet has allowed himself to be carried too far away from the twentieth
century’s grit and tight, sidewalk pivot by bloated universals. But Kees is
better than that. The above list is neither – could never be – the poem’s
opening or closing line. Instead, it’s the poem’s central metaphor. I think we
know, or at least intuit, that any list has a tendency toward litany,
invocation and prayer when included in a poem. The string of concepts, however,
has to be considered together and, thus, constitutes a type of metaphor.</span></b></span></div>
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<br /></div>
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<span style="font-size: large;"><b><span style="font-family: 'Courier New',Courier,monospace;">Kees
frames all of the above as “perfect and private things, walling us in” with
their “imperfect and public ending.” They are “interruptions.” And the bathers,
lovers, scholars and pilots from the first four lines, all solid, tax-paying
citizens of the above twentieth century, cannot bank on momentary smiles. They,
ironically, cannot even bank on death’s ultimate interruption, for there is “No
death for [them.] [They] are </span></b></span></div>
<br />
<span style="font-size: large;"><b><span style="font-family: 'Courier New',Courier,monospace;">involved.”</span></b></span><br />
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><br /></b></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b> - G.F.A.</b></span></div>
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<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b><br /></b></span></div>
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<span style="font-size: large;"><b style="font-family: 'Courier New',Courier,monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUBPhzXbDdtOZ-2O7oHk2ZqAgRpvngCwfjY4W_7ho4zgq5wPfhth-8VH4u4LAHfkWYNrH-HuFOoQX2LMeWtcg6NFGAk9IcFMBH4xKv8gYKBuMEybR858T55l5e5MHrqcbbRipXv1OMuS8/s1600/05+Smiles+of+the+Bathers.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUBPhzXbDdtOZ-2O7oHk2ZqAgRpvngCwfjY4W_7ho4zgq5wPfhth-8VH4u4LAHfkWYNrH-HuFOoQX2LMeWtcg6NFGAk9IcFMBH4xKv8gYKBuMEybR858T55l5e5MHrqcbbRipXv1OMuS8/s1600/05+Smiles+of+the+Bathers.jpeg" /></a></b></span></div>
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<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com2tag:blogger.com,1999:blog-4764309436982836788.post-63934290275963143612013-10-23T19:29:00.000-07:002013-10-23T19:38:52.004-07:00Self, Variations<style>
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<b><span style="font-family: "Courier New",Courier,monospace;">Whitman’s expansive self recalls for me what people tell me about <i>atman</i>
and <i>Brahman</i> in Hinduism and confirm him as a mystic, in a certain sense.
His “mysticism” is based in “empirical” description but a phenomenon
under his description isn’t “just there.” It’s there as we’ve seen it
and experienced it and felt it. It’s there as it’s run through our
brains and been spit out as particular words. Letting words do their
work is simultaneously letting our brains do their work – that’s the
entire brain system / body, from head to toe and back again. <br /><br />I
need Whitman’s expansive empirical mysticism, or something like it, from
time to time, perhaps often. However, there can be a disconnect, a bit
of the pie in the sky, and this is where I relate sometimes more with
some portions of Ashbery, where we have the expanded sense of self but
now drastically more finite. I’ll never get over the first words of his
I read years back, the opening of his <i>Self-Portrait in a Convex Mirror</i>
(1975), opening poem,<br /><br /> I tried each thing, only some were immortal and free.<br /> Elsewhere we are sitting in a place where sunlight<br /> Filters down, a little at a time,<br /> Waiting for someone to come. Harsh words are spoken….<br /><br /> (From J.A., “As One Put Drunk into the Packet-Boat”)<br /><br />We
might start with the air of Icarus before he gets too far, before the
emergency, and before a potentially fatal fall and end up sitting right
where we are, waiting, in the sun, filtering to a little spot there
within eye-shot of a maple, in a squabble. <br /><br />-bbc</span></b></div>
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<span style="font-family: "Courier New",Courier,monospace;"><b>
</b></span>Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-15174698269033504892013-10-06T08:31:00.000-07:002013-10-06T08:34:55.392-07:00"Love Poem Against the Spring"<!--[if gte mso 9]><xml>
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<b><span style="font-family: 'Courier New', Courier, monospace;">I’ve been reading Marianne Boruch’s first book, </span><i style="font-family: 'Courier New', Courier, monospace;">View from the Gazebo</i><span style="font-family: 'Courier New', Courier, monospace;">, and thinking about
how sentiment may very well simultaneously be the first tool in the poet’s box
and the first hurdle a poet is obligated to overcome. It’s kind of the Chuck
Berry riff of writing poems; it cannot be denied, but must be applied with care
and timing. More specifically, I’ve been reading “Love Poem Against the
Spring,” a poem that opens with lines that neither deny nor reverse sentiment:</span></b></div>
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<b><br /></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>Spring
means nothing but camouflage<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Courier New, Courier, monospace;"><b><span style="font-size: 10.0pt;">so
we dare to say these corny things.</span><o:p></o:p></b></span></div>
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<b><br /></b></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;"><b>It’s spring once more - no irony, no high-modern cruelty.
Instead, Boruch acknowledges all the existing green that any new attempt at
green blends into. She acknowledges the unavoidable matrix of sentiment that
consumes any new declaration of love, the “camouflage,” the “corny things.”<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-family: Courier New, Courier, monospace;"><b> She concedes
spring and its purple flowers, but never denies her own discomfort: “OK,
they’re cute. My hunger’s not.” I like that the speaker’s ache stays complex.
She is accused of being a computer by a friend, but the calculations here are
clearly the necessary (and probably futile) steps to avoid breakdown: “Perhaps
the pretty air / exaggerates some things.” These concessions to sentiment
nearly mask the anger. The intelligence here just exasperates the sense that
the speaker, more alert and alone for defying a mindless vernal camouflage, is
utterly disconnected, and by the end of the poem she has earned her take on an
image common enough to be cliché but strangely effective in triplicate. She has
earned her collapse into a heightened state of emotion that could be
“sentiment” if decades of academic poetry workshops had not thrown sentiment
out with the bathwater:<o:p></o:p></b></span></div>
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<b><br /></b></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>Last
night I saw three couples, incredible throwbacks,<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>strolling
into the dusk, two so giddy, they’d love anything.<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>I’m
quiet as a brick. But for spring<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>this
far I’d go – glad, I guess, to shed this coat. It’s you<o:p></o:p></b></span></span></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b>I
crave, you who gets more stunning<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<b><span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;">as
we age.</span></span><o:p></o:p></b></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></span></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><b> -- G.F.A.</b></span></span></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
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<span style="font-size: 10.0pt;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: right;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj89eseGB_IV_pT5_1V5iQCBIw9SsDIUW1tT_sTG-ZS_jBcIjjBp0M8mD3jCvjKBO-tdffLXKHashpDshVMBOodllWwyHWbWl9QoJyw3f8wpuI7V8EMxpIOnh9wwkMeb_SvKO8J6AqwtOk/s1600/04+Love+Poem+Againt+the+Spring.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj89eseGB_IV_pT5_1V5iQCBIw9SsDIUW1tT_sTG-ZS_jBcIjjBp0M8mD3jCvjKBO-tdffLXKHashpDshVMBOodllWwyHWbWl9QoJyw3f8wpuI7V8EMxpIOnh9wwkMeb_SvKO8J6AqwtOk/s1600/04+Love+Poem+Againt+the+Spring.jpg" /></a></div>
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<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-7518654164670716132013-09-25T16:32:00.001-07:002013-09-25T16:47:01.314-07:00What Works?<style>
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<b><span style="font-family: "Courier New",Courier,monospace;">I keep thinking about what works.<span style="mso-spacerun: yes;"> </span>Always depends, of course, but there are some
reliables: past reading + experience along with gentle questioning of how it
feels, to begin with.<span style="mso-spacerun: yes;"> </span>Recently I keep
coming back to #132 in <i style="mso-bidi-font-style: normal;">Complete Poems of
E.D. </i>(T.H. Johnson / Back Bay edition):<span style="mso-spacerun: yes;">
</span>“I bring an unaccustomed wine / To lips long parching / Next to mine, /
And summon them to drink; / Crackling with fever, they Essay….”<span style="mso-spacerun: yes;"> </span>I find this trustworthy, affectively
speaking.<span style="mso-spacerun: yes;"> </span>And by the time we get to the
last bit here my neurons are firing up, too.<span style="mso-spacerun: yes;">
</span></span></b>
<b><span style="font-family: "Courier New",Courier,monospace;"> </span></b><br />
<br />
<b><span style="font-family: "Courier New",Courier,monospace;">So as I’m reading, I’m implicitly asking Does
this feel right? but also Does this contain or expand my intellectual universe?<span style="mso-spacerun: yes;"> </span>Am I opened up and strengthened?<span style="mso-spacerun: yes;"> </span>Or am I shut down and made even less
significant than I already am?<span style="mso-spacerun: yes;"> </span>When I
get to Whitman’s assertions, I certainly feel the expanse:<span style="mso-spacerun: yes;"> </span>“I am of old and young, of the foolish as
much as the wise, / Regardless of others, ever regardful of others, / Maternal
as well as paternal, a child as well as a man…” (<i style="mso-bidi-font-style: normal;">Leaves [1855]</i> in <i style="mso-bidi-font-style: normal;">Whitman:
Poetry & Prose, </i>Library of America).<span style="mso-spacerun: yes;"> </span> </span></b><br />
<br />
<b><span style="font-family: "Courier New",Courier,monospace;">I have to admit that I get a little
suspicious and cautious about Whitman’s optimism and romanticism at times.<span style="mso-spacerun: yes;"> </span>Feels like we could be set up for a fall,
perhaps unnecessary fall.<span style="mso-spacerun: yes;"> </span>Still, often
the risk seems worth it.<span style="mso-spacerun: yes;"> </span>“A learner with
the simplest, a teacher of the thoughtfulest, / A novice beginning experient of
myriad of seasons, / Of every hue and trade and rank, of every caste and
religion, / Not merely of the New World but of Africa Europe or Asia . . . . a
wandering savage, / A farmer, mechanic, or artist . . . . a gentleman, sailor,
lover or quaker, / A prisoner, fancy-man, rowdy, lawyer, physician or priest. /
I resist anything better than my own diversity, / And breathe the air and leave
plenty after me….”<span style="mso-spacerun: yes;"> </span></span></b></div>
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<br />
<b><span style="font-family: "Courier New",Courier,monospace;"><span style="mso-spacerun: yes;">-bbc</span></span></b><br />
<br />
<b><span style="font-family: "Courier New",Courier,monospace;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"><br /></span></span></b></div>
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<b><span style="font-family: "Courier New",Courier,monospace;">
</span></b>Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-54461187246381194552013-09-15T15:51:00.000-07:002013-09-15T15:51:51.021-07:00Loneliness in Jersey City
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<span style="font-family: Courier New, Courier, monospace;"><b>“Loneliness in Jersey City”<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>I’ve been reading “Loneliness in Jersey City” by Wallace
Stevens and thinking about metaphor’s central place when committing acts of
poetry. To enter the poem we must consider its unlikely opening equation: “The
deer and the dachshund are one.” It’s odd, but far from dismissible, more than
passing strange. The stanza continues with a syllogism that never quite
resolves: “Well, the gods grow out of the weather. / The people grow out of the
weather; / The gods grow out of the people. / Encore, encore, encore les dieux
. . .” I imagine Stevens fit to be tied, at the end of his rope, so to speak,
stacking the world into probabilities as he did during his day gig as v.p. of
the Hartford Accident and Indemnity Company. Nothing adds up. No foothold
presents itself. This is not whimsy, but hell for a guy who wrote in “Three
Academic Pieces,” (a Harvard lecture,) of the magic that can happen when
metaphor bridges “things of adequate dignity.” I feel Steven’s isolation
emerging as the poem goes on to surrender its street scene: its darkened
steeple and its all-night immigrant serenades.<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>I remember a creative writing worksheet from my high school
days. It was designed to help young people avoid clichéd expressions. Instead
of writing “busy as a bee,” it instructed, one should invent a level of
business more like, “as busy as a mustard paddle at a picnic.” I, frankly, fear
the poetry that grows out of such instruction.<o:p></o:p></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b> -
G.F.A.</b></span><o:p></o:p></div>
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<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com2tag:blogger.com,1999:blog-4764309436982836788.post-23114446783583912392013-09-02T22:47:00.001-07:002013-09-02T22:58:05.990-07:00Words Work<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b>'Words don't need to be dressed up. Words do the work themselves.' I thought this as I heard a speech recently where affect was used heavily in order to 'help' the words along. But words usually don't need help -- it just depends what the words are. </b></span></span><br />
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b>When all else fails, it's sometimes thought, insert pathos. But following Aristotle, as I was taught him, pathos emerges as a result of logos rather than added on as another strategy. (Same goes for ethos.) Why sometimes do we think words need help?</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b><br /></b></span></span>
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b>Well, sometimes they do need help, but if we're in the word business then the first attention really should go to letting words and combinations of words do their work. Perhaps from the weakness of some particular word combinations we're then tempted to play a 'pathos' card or cash in on 'ethos' as if these aren't already bound up in the 'logic' of our words.</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b>And by logic here I don't mean syllogisms necessarily (nor even enthymemes) but whatever structure of words one strings together in such a way that works. Part of 'what works' is how <i>these </i>words (in any given situation) relate to other words we know. And part of what works is how these words relate to our experience -- what we feel and think. </b></span></span><br />
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"><b>I think of Dickinson again. She doesn't need my help in reading her -- e.g., as I read her aloud. She's done (almost) all the work, and I mostly need to get out of the way so her work can do what it does. Can we trust that the words will do their work? -bbc </b></span></span>Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-55930112561729431922013-08-21T08:26:00.000-07:002013-08-21T11:35:09.115-07:00"We Humans"<!--[if gte mso 9]><xml>
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<span style="font-family: Courier New, Courier, monospace;"><b>“We Humans”<o:p></o:p></b></span></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>I’ve been reading the poem “We Humans” from Darcie
Dennigan’s book <i>Madame X</i>. I’m always
fascinated by how much and how little a poem can contain. Kenneth Koch once
said, “I like the idea of bringing the whole world onto the stage.” I get it.
The potential for truth and its varied rhythms becomes more likely in, not so
much an endless bucket, but a bucket in which an endless number of things might
be fetched. The sifting of more dirt unlocks more gold. The juxtaposition of
varied dirts is better than gold. The world has to be our subject and our
audience, to some extent.<o:p></o:p></b></span></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>The title “We Humans” stakes a claim on a pretty big
subject, but the poem’s intimacy and precision both keep its big promise in
check and ultimately fulfill it. The poem opens, “My boyfriend believes aliens
built the pyramids.” We readers get invited right into the bedroom where the
speaker and the speaker’s boyfriend watch a PBS documentary on those same
pyramids imbedded in the boyfriend’s belief. A lesser poet would mine intimacy
from the chinks in this relationship, or worse yet make a voyeur of the reader.
Sex scenes are fine, I suppose, but how many writers can truly render the act so
its mystery rivals the mystery of the pyramids?<o:p></o:p></b></span></div>
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<br /></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Instead, Dennigan creates a room as fragile and uniquely detailed
as one in a handcrafted doll house: the unlit Christmas tree, those Oreos that
cross an imaginary line, the paper roses equally likely in magic and science.
The poem retains its status as miniature while still addressing belief and identity,
what we share and what we want, what we want to share but cannot. The last line
is shocking in its want. It effectively and personally calls for the world to
continue.</b></span><o:p></o:p><br />
<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
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<span style="font-family: Courier New, Courier, monospace;"><b> -- GFA</b></span></div>
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<br />
<a href="http://www.amazon.com/Madame-X-Darcie-Dennigan/dp/0982237685/ref=sr_1_1?s=books&ie=UTF8&qid=1377098653&sr=1-1&keywords=madame+x">Purchase Dennigan's Madame X</a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b><br /></b></span></div>
<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-82935319556755729762013-08-11T09:12:00.000-07:002013-08-11T12:38:49.501-07:00"Strange Little Machines"<style>
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<b><span style="font-family: "Courier New",Courier,monospace;">In conversation, Glen Armstrong sometimes refers to this or
that poem as a “strange little machine” and, among others, I think of Dickinson.<span style="mso-spacerun: yes;"> </span>Some poets protest against the idea of
their efforts being algorithms at work but it needn’t be an insult to attribute
creativity to machinations.<span style="mso-spacerun: yes;"> </span>With
the right sort of machine and program running, one’ll have practically infinite
variability in outcome.<span style="mso-spacerun: yes;"> </span>“Nature”
in: odd, lovely, machination out.</span></b></div>
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<b><span style="font-family: "Courier New",Courier,monospace;"><br /></span></b></div>
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<b><span style="font-family: "Courier New",Courier,monospace;">That’s how Dickinson works.<span style="mso-spacerun: yes;"> </span>One could almost call it an “empirical” activity.<span style="mso-spacerun: yes;"> </span>Nature, plus an awareness of “the”
literature, in: riffs and variations from there.<span style="mso-spacerun: yes;"> </span>I think of Whitman in this context, too, where the riffs
become waves and the variations attempt to set us off into new territory.<span style="mso-spacerun: yes;"> </span>Nature and literature get run through
their minds and we end up with some fortunate inventions.</span></b></div>
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<b><span style="font-family: "Courier New",Courier,monospace;"><br /></span></b></div>
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<b><span style="font-family: "Courier New",Courier,monospace;">And by invention here I like to go back to what’s summed up
in the old rhetorical word “inventio”, which people tell me can be translated
from the Latin to English as either “invention” or “discovery”.<span style="mso-spacerun: yes;"> </span>The ambiguity is an advantage here because
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given.<span style="mso-spacerun: yes;"> </span>Rather, the result of
inventio is partially constructed, not unlike they way we’ve found out memory
works.<span style="mso-spacerun: yes;"> </span>Our brains too are strange
little machines.<span style="mso-spacerun: yes;"> </span>-bbc<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></b></div>
Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com1tag:blogger.com,1999:blog-4764309436982836788.post-87797988489042620732013-07-30T09:55:00.001-07:002013-08-21T08:33:23.774-07:00Saint Rocco to the Rescue<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b>I’ve been reading Dan Chelotti’s <i>X</i> and thinking about how the poem “Festival of Saint Rocco” might
have tanked in a lesser poet’s hands. On the surface, the piece collects scenes
from a carnival midway: the plastic clown faces at the shooting gallery, kids,
a carny, fathers, the itinerant fencing around one of the rides.<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b>Most of us at some point were prompted to list a scene’s
details by a well-meaning writing teacher. Mission accomplished. A+. Or maybe
A- because <i>I still can’t quite “see” the
children in line in detail</i>. (Forgive her. Teaching is tough, and, again,
she means well.)<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b>It’s not the details from a carnival that elevate Chelotti’s
piece from writing to poetry. It’s the incredibly skilled orchestration of
tone. The target’s clown-tongues are “hit” sometimes “correctly.” This is a
place of both laughter and static. Chaos and well defined lines. Some guys are
fathers whose children will be returned spun around but not much worse for the
wear after a ride on The Cobra. Others end up the carny whose “left incisor” is
currently, but not always, elsewhere. These reversals of tone are a ride for
the reader. We enter <i>X</i>. We buy a
ticket and stand in line for page 64. The pleasant and the unpleasant threaten
to smash into each other. (And the wait in line is more than fine, mind you.
There is plenty to enjoy in Chelotti’s book.)<o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b><br /></b></span></div>
<div class="MsoNormal">
<span style="font-family: "Courier New",Courier,monospace;"><b>As the poem ends I have to ponder the “kinder sightlines”
down which the good Saint Rocco blesses us. A divine presence taking aim seems
just right.</b></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: right;">
<span style="font-family: "Courier New",Courier,monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRaQtQqk_G6gVYgQAQHx76vcTJqt9SSoe4ludSwPLUYCvmSNZfLhYuK4X5tPB1qqkt8LIEYS_5NFt6K0TLCaGf7uSMgnXTkRXzF_4gihGREvb99WV9sHtNOIBj84821t94QOaU1xrQpU/s1600/51ukIHkdV8L._AA190_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRaQtQqk_G6gVYgQAQHx76vcTJqt9SSoe4ludSwPLUYCvmSNZfLhYuK4X5tPB1qqkt8LIEYS_5NFt6K0TLCaGf7uSMgnXTkRXzF_4gihGREvb99WV9sHtNOIBj84821t94QOaU1xrQpU/s1600/51ukIHkdV8L._AA190_.jpg" /></a></span></div>
<div style="text-align: right;">
<span style="font-family: "Courier New",Courier,monospace;"><br /></span></div>
<div style="text-align: right;">
<div style="text-align: left;">
<div style="text-align: right;">
<span style="font-family: "Courier New",Courier,monospace;"> <a href="http://www.amazon.com/x-Mcsweeneys-Poetry-Dan-Chelotti/dp/1938073398/ref=sr_1_1?ie=UTF8&qid=1375203131&sr=8-1&keywords=dan+chelotti">Purchase Chelotti's X</a></span></div>
</div>
</div>
<div style="text-align: right;">
<div style="text-align: left;">
<div style="text-align: right;">
<span style="font-family: "Courier New",Courier,monospace;"><br /></span></div>
</div>
</div>
<span style="font-family: "Courier New",Courier,monospace;"><o:p></o:p></span></div>
<!--EndFragment-->Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0tag:blogger.com,1999:blog-4764309436982836788.post-64498563100512659932013-07-25T22:52:00.000-07:002013-07-25T22:52:37.057-07:00The Cruel Garters Blog begins.Cruel Garters Bloghttp://www.blogger.com/profile/00103357458652511085noreply@blogger.com0