Saturday, October 10, 2009

Poet Kofi Anyidoho Reading

Here is a link to a Youtube video of poet Kofi Anyidoho:

http://www.youtube.com/watch?v=8VaxJLivRT4&feature=channel_page

Anyidoho is a Ghanaian poet and also a professor of literature at the University of Ghana. His books include Ancestral Logic and Caribbean Blues (1992).

Friday, October 9, 2009

Blacking Out In Florida

Blacking Out In Florida

"Utility to Pay $25 Million For Blackout in Florida"
--New York Times, October 9, 2009, p. A-15


I read of "a record penalty
for violating the rules of the electricity
grid" and think of the vast distance
between me and my society because
I don't know what the rules
of the electricity grid are,
what they stand for, who made them,
who the Grid-Enforcers are, and what
the phrase "substantial, wide-ranging
and specific reliability enhancement
measures" means, for the phrase is
insubstantial, diffuse, general,
un-enhanced, unreliable, and
unmeasurable. Also, I think $25
million dollars are too much to pay
just to black out in Florida, and what
is the utility, I must ask, of blacking
out in that particular state?


Copyright 2009 Hans Ostrom

Wednesday, October 7, 2009

Poets Born In Ohio

There certainly are a lot of poets who were born in Ohio, among them . . .

Rita Dove
Hart Crane
Richard Howard (his book of criticism, Alone With America, is a favorite of mine)
Kenneth Koch (inventive, funny poet; his send-up of W.C. Williams' "This Is Just To Say" is hilarious)
Mary Oliver (American Primitive is my favorite book of hers)
David Wagoner (prolific poet, former editor of Poetry Northwest)
Jill Bialosky

For a longer list, please follow the link:

http://www.poets.org/state.php/varState/OH

Tuesday, October 6, 2009

Labor Breaks You


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Labor Breaks



Labor breaks you. When you're young,
you roll through it, your muscles
and bones handling any kind of shit
labor throws your way. Labor stays
young forever while you age, though.

It laughs with you when you're young,
sure. It hits the bars and runs around
town watching you go after what you think
you want. It gets you up in the morning after
nearly no sleep--no problem, you're young.

Then one day you're not young and labor
hasn't aged a day, and it grins and shrugs
as if to say, "Nothing personal," and it
starts to hit you with the tools of your trade,
and you know then the work you do will break you.

Copyright 2009

Saturday, October 3, 2009

Ten Recommended Canadian Poets

The Canadian Broadcasting Corporation (CBC), on which I watch news from Vancouver and CFL football, bravely and/or blithely provided its list of top ten (living) Canadian poets a while ago. One can only imagine the cacophony of questions and exclamations such a list engendered. Actually, one cannot only imagine because there are 27 comments on the story, to be found at . . .

http://www.cbc.ca/arts/books/story/2009/05/19/f-best-poets-canada.html

What are the criteria? Whose list? How can you leave off [ ]? And so forth.

With the cacophony and caveats in mind, then, here's the list (one point being . . . read some poems by these writers if you haven't already):

Don McKay
Ken Babstock
Mary Dalton
Dionne Brand
Don Domanski
David McGimsey
Skydancer Louise Bernice Halfe
Jeremy Dodds
Erin Moure [accent on the last e]
Sheri-D Wilson


Thanks for the list, CBC.

Poets Born in Pennsylvania


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What poets were born in Pennsylvania? I'm glad you asked. My answer will be most incomplete, but it's a start. In no particular order . . . :

Gerald Stern
Robin Becker
J.D. McClatchy
Karen J. Weyant, also known
in the blogo-sphere as The Scrapper Poet
(see link at right)

W.D. Snodgrass
H.D. [Hilda Doolittle]
W.S. Di Piero
Wallace Stevens
Julia Kasdorf
Ron Silliman

Here is a link to more information about Pennsylvania, poetry, and poets:

http://www.poets.org/state.php/varState/PA

Friday, October 2, 2009

Nelson Mandela's Favorite Folktales





We are entering a variety of annual gift-bestowing days ahead, and I ran across a book written for children ages 9-12 (and thus for adults of any age) that might serve well as a literary gift. It is . . .

Nelson Mandela's Favorite African Folktales (New York: W.W. Norton, 2007), illustrated.

Unamused By Autumn

Unamused by Autumn

I don't like Fall, which poets
call "Autumn," anymore. Enough
with the leaves already. Fall's
a short road from Summer to Winter.

In the U.S., the autumnal holidays
have seen better ways: Children
trick-or-treating need body-guards
to protect them from real monsters,
and at Thanksgiving, highways
and airports congeal like cold gravy.

People called hunters shoot
lots of animals in Fall. I'm not
sure how sporting it is anymore,
what with the laser-sights, the
scopes more refined than Galileo's.
Concussions occur in football games

while spectators text-message
people on other continents. Like
a leaf, the letter n would fall
off autumn if it weren't for
the florid adjective, autumnal,
which never made me laugh.

Copyright 2009 Hans Ostrom

Thursday, October 1, 2009

James Brown, Luciano Pavarotti, and Globalization








"Globalization" sounds nice, but I'm not confident about defining it, except to allude to the fact that everything human is even more connected than it used to be, but that's pretty weak.

I did, however, find a blessed, campy, surreal, and wonderful product of globalization: James Brown and Luciano Pavarotti singing together on stage. Of course, there is the customary problem of any "popular" performer singing with Pavarotti. The latter's voice hits the former's like a tsunami hitting a pond. Nonetheless, Brown hangs in there with a great deal of funk, soul, and charm, and the violinists even get down with their bad selves. Here is a link to a Youtube video of the event:

http://www.youtube.com/watch?v=Febr_t_qa9U

Wednesday, September 30, 2009

One Thing Is Certain


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One Thing Is Certain


One thing is certain--or is it two? Here
comes a snow-plow pushing letters into words
into phrases into sentences and snow on
and ice forth. Soon a large drift
of meaning looms beside the road.

Minds drive by on their way to
the ski-resort. One thing is certain--
or is it zero? At least something
exists--substance, not the greatest
name to attach to a thing that seems
to have preceded perception and
naming, but as Old Spinoza knows,

a semi-infinite number of pieces fly
off Substance and just beg to be numbered
and named--stars and socks, allergies
and anthems. Certain things are one.


Copyright 2009 Hans Ostrom

Irving Layton Reads


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Here is a link to an interesting video, the voice-over of which features Irving Layton reading some poems, and the images and "story" of which concern bringing wine to Irving Layton:

http://www.youtube.com/watch?v=RpDVs29OX3Q

Layton, of course, was a renowned, enormously successful Canadian poet who possessed a robust personality. He was a friend of Leonard Cohen's. Layton died in 2006 at the age of 93.

Sunday, September 27, 2009

Thursday, September 24, 2009

The Weary Blues

One of the most enduring poems from the Harlem Renaissance is Langston Hughes's "The Weary Blues," which is not in blues form (as some of Hughes's poems are), but is rather a meditation on the blues--especially in a Harlem context, and more specifically Lenox Avenue.

I found a most appealing visual and aural "rendition" of the poem on Youtube. It is from Four Seasons Productions. I looked for but did not find the name of the reader, who does a terrific job. Many thanks to him.

I hope you enjoy it. It includes images of music's and culture's dear friend, Cab Calloway.


http://www.youtube.com/watch?v=KyqwvC5s4n8

Tuesday, September 22, 2009

Radio Station K-E-G-O

Broadcasting From K-E-G-O


It’s just her, broadcasting
to herself with one watt
of power, pretending
to interview an Other,
playing requests
she called in to herself,
breaking for news about her life,
weather she enjoys, sports
that delight her, honors
due to her. This
is solipsism radio,
from a studio of Self,
on the narcissistic network.
For your own sake, tune out.


Copyright 2009 Hans Ostrom

Monday, September 21, 2009

Ideas for Poems--In Threes

The poetry-class generated some great ideas for poems today, so I thought I'd pass them along. The basic framework was to think of three topics about which you haven't written that are in a broad category, such as "nature". So the first question to answer is, therefore, "What are three 'things' [topics, places, creatures, phenomena] 'in' nature about which you haven't yet written a poem but would like to write a poem about?"

(My answers were potato-bugs, gooseberries, and mold).

Next: Three people (you haven't written a poem about but might like to). Answers ranged from "my brother" to "my step-grandmother" to a celebrity, etc.

Next: Three things you take advantage of. This idea from a student turned out to be especially good because some people interpreted it in a somewhat negative way ("I take advantage of audiences"--this from an actor) while others took it as more neutral or positive ("I take advantage of how close I live to X, Y, and Z.")

Next: Three tasks, chores, or activities you especially did NOT like as a child/adolescent. (One of my answers was "killing chickens.")

Next: Three mysterious things that have happened to you (and about which you haven't yet written a poem).

Next: If you were to write an homage-poem about a well known dead actor, artist, musician, writer, athlete, et al., who would be three of the candidates, so to speak?
Answers ranged from Greta Garbo and Cary Grant to Heath Ledger and Beethoven--and Siegfried Sassoon.

So: 6 X 3 = 18, if memory serves. Eighteen starting-places for potential poems. Nice.

And thanks to the students.

Small Door-Poem


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Here is a small door-poem, as opposed to a small-door poem.


Door Poem

Some doors are made of wood,
and some of fear.
Inside, you hear
the knocking, wonder: Should

I open up to what I cannot see?
Outside, you knock,
don't try the lock,
think: What, who, might greet me?


Copyright 2009 Hans Ostrom

Sunday, September 20, 2009

Robert W. Service and the Oakland Raiders

Canadian vagabond and poet Robert W. Service wrote popular narrative verse, the most famous of which may be "The Cremation of Sam McGhee." His work is not terribly welcome in academic circles, but I don't imagine the spirit of Service, wherever it is, cares much. His collected poems from G.P. Putnam still sell well; in fact, I just bought a copy. Service's is a special talent, involving a genius for rousing rhythm, song-like rhyme, and narrative drive. Service was an entertainer and a teller of tales: nothing to sneeze at.

If you happen to be an Oakland Raider [American football]fan, you will likely be suffering from depression (the team has been on the skids), but you will likely also be aware of a Service-like poem written by Steve Sabol, a producer of films and video concerning football, and narrated by the deep-voiced announcer John Facenda.

I'm a life-long Raiders fan--but by accident. Because I grew up in a canyon of the High Sierra in pre-cable-TV days, our household's TV received the signal of only one channel well. The channel happened to be an NBC affiliate, and NBC broadcast games of the fledgling American Football League, of which the Raiders were a member. So I started watching the Raiders and getting intrigued by how quirky they were, and how obsessively single-minded their owner, Al Davis, was.

At any rate, the style of Robert W. Service meets the substance, such as it is, of Steve Sabol's poem in this video from Youtube (oh, and incidentally, the Raiders somehow found a way to win today)

http://www.youtube.com/watch?v=MKbYjyKOoR4

Saturday, September 19, 2009

The Black Mountain School


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the photo is of Robert Duncan
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Poets.org has a nice concise overview of the Black Mountain School, a phrase in which "school" functions literally (there was a school on the premises) and figuratively (a school or loosely related type of poetry arose from some who taught and/or studied there). Here is a brief excerpt from the brief overview:

"Black Mountain College, located in a collection of church buildings in Black Mountain, North Carolina, was an educational experiment that lasted from 1933 to 1956. It was one of the first schools to stress the importance of teaching creative arts and that, in combination with technical and analytical skills, the arts are essential to human understanding. The group of influential poets who studied, taught, or were associated with the school included Robert Creeley, Robert Duncan, Denise Levertov, and Charles Olson. Though these poets' work was remarkably different, they shared creative philosophies that came to be known as "projective verse."

And here is a link to the rest of the description:


http://www.poets.org/viewmedia.php/prmMID/5648



I think the only poet from the Black Mountain School whom I saw/heard read in person was Robert Duncan, at U.C. Davis. But like e alot of poeo;e I've read and taught poems by Levertov, Olson, and Creeley often. My favorite of Olson's is "That Thing Was Moving," was is, in part, about a town dump. I rather like Creeley's often almost-imageless poems that seem like compact thought-maps, almost always crisply phrased.

Friday, September 18, 2009

Elsewhere


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Elsewhere

Do you wonder what people are doing Elsewhere?
If you do, then so do I. I'm here, which is
Elsewhere to you, who are Elsewhere, too, to me.

I know what people are doing here. Sometimes
it makes me cry. I hold out hope, therefore,
for Elsewhere. I don't know why. I imagine

other, better, things; breathe easily; sigh.
Elsewhere;s where we need to meet, I think,
to ask us why we cannot ever get along

right here, where good will seems to die.
Maybe Elsewhere is the place in which our
better selves might resettle to repair

the damage done by tawdry instincts
by and by. I think of Elsewhere, I see,
as a place amenable to possibility.


Copyright 2009 Hans Ostrom

Thursday, September 17, 2009

Why Poets Do Well In Any Economy

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Poets do well in any economy because no economy has ever been especially good for poets. "The economy is bad?" poets ask. "Well, I'll be darned."

Pick any allegedly extra-active poetic period--the Beat period in the U.S., for example. The economy was riding high after World War II, the Beats were changing poetry, and President Eisenhower was on the golf course. Good times, except for the examples cited in Ginsberg's Howl. Okay, so there were a lot of examples.

By the way, this was back when Republicans behaved as adults; can you imagine the general in charge of D-Day wasting energy and being rude by yelling at someone, a la Rep. Joe Wilson, who is a guest in his professional house? Republicans need to ask themselves, "What would Eisenhower do?" Answer: Pass pragmatic, effective health-care reform, stop going to the well of hate-speech, and not behave like a "jackass," President Obama's term for Kanye West's behavior at one of those awards shows so central to the betterment of humanity. West should have asked what No-Drama Obama would have done (not been at the awards show in the first place).

But back to those Beats. Did they do anything to harm the good economy? No. Did they help? Of course! They filled coffee houses and bars, and they started at least one venerable small business, City Lights Books. When the economy turned sour soon thereafter, you didn't hear poets complaining, partly because they were complaining about other things, such as racism.

At any rate, here is a list of reasons why poets do well in any economy:

1. Poets are used to not getting paid much, if anything, for their poetry. In an odd way, then, they are recession-proof, and they've always had to have a day-job, or a night-job, or two jobs.

2. Poets, unlike many novelists and all pundits, are frugal with words. Poets Know Frugal.

3. Poets tend to be generous with money. If you meet one at a cafe or a bar and buy a copy of his/her chapbook or ask him/her to sign a copy, the poet will be so ecstatic that he or she will buy you several rounds of libations.

4. Poets can smell rotten metaphors right away. So when Reagan's team used "trickle-down economics," all poets knew right away that this wasn't good, especially for those being trickled upon. "The Patriot Act." Poets know the Patriot Act was mis-named and has created not a single patriot. Poets can tip you off to mischievous political speech, regardless of party-affiliation.

5. Almost all poets know enough about what they don't know to stay away from economics, and in a bad economy, the last thing we need is more economists, and in a good economy, we don't need any economists to tell us it's good.

An exception to this rule is Ezra Pound, who, like Ron Paul, got obsessed with the gold-standard and got immersed in especially awful anti-Semitism. He also made radio broadcasts on behalf of Mussolini because he thought fascism had good economic solutions. Because the U.S. was at war with Italy, Pound got arrested and eventually ended up in a mental hospital in Baltimore. After a while, he was allowed to leave and to live out his days in Italy.

A lesson is: Italy is great, but stay away from economics, poets! It is a dismal "science", not a legendary art.

6. Poets often read and write so carefully that they pay attention to syllables, not just words. Note E-CON-o-my. Bernie Madoff and bankers who operated as loan-sharks put the CON in economy, and the regulators did nothing more than say "O, my." Result: Disaster. Poets saw this coming. It was a syllable-thing.

7. You can trust poets at least to do no harm to the economy. True, Wallace Stevens worked in insurance, and James Dickey worked in New York advertising, but neither absconded with funds, ran Ponzi schemes, or cheated shareholders (as far as I know). James Merrill, of the Merrill in Merrill Lynch (by relation), did not get involved in the business and spent a lot of time writing long poems.

8. Poets are highly employable because they're usually socially flexible. Not in every case, but in most cases. There may be times, however, when a manager will notice that a poet is writing a poem on the job (in both senses of that phrase).

9. As Percy Shelley noted, "Poets are the unacknowledged legislators of the world." Most people focus on the "legislators" part of that quotation. Poets focus on the "unacknowledged" part. Unacknowledged is good. I wish Re. Joe Wilson and Senators Baucus and Grassley would go unacknowledged for a while.

10. Almost all poets have consumed their share of coffee, tea, and/or wine--the kind of basic stuff upon which economies have relied for thousands of years. We do our part.

Tuesday, September 15, 2009

Rhode Island's Poet Laureate

Here is a link to a nice article by Annie-Laurie Hogan about Rhode Island's Poet Laureate, Lisa Silverberg Starr:

http://media.www.ramcigar.com/media/storage/paper366/news/2008/03/07/News/R.i-Poet.Laureate.Shares.Poetry.Advice.At.Readwrite.Series-3258082.shtml

Being from the geographically massive state of California, I would have been tempted--in high school, let's say--to wonder if poets from Rhode Island had to write small poems like haiku. Luckily, I graduated from high school, and many, many moons ago, I moved to a geographically modest state (in spite of features like Puget Sound and volcanoes like Mt. St. Helens and Mt. Rainier), Washington.

Congratulations and good luck to Lisa Starr, and here's a tip of the cursor to Rhode Island and that fascinating figure, Roger Williams.

The Services of Poetry Are Always Needed

On a local-government site for Pennsylvania (in this case "local" seems to mean "state"), I found the following interesting item:

"Position History:
Position established 1993. The first and only state poet laureate, Sam Hazon, was appointed May 24, 1993 by Gov. Bob Casey. On May 1, 2003, Hazon was notified by an aide to Gov. Ed Rendell that his "services were no longer needed." Rendell's decision to remove Hazon from office effectively terminated the position of Pennsylvania poet laureate. For more information, see the October 10, 2004 article 'It's Official: Every Poet is a State Poet' in the Pittsburgh Post-Gazzette."


It turns out Mr Hazo was more than well-deserving of the post; see part of his bibliography below. To Governor Rendell, I would simply say, "Sir, the services of poets and poetry are always needed; look around you, sir!"

I haven't tracked down the Post Gazette article yet, but I wonder if it was Rendell's idea to make every poet the state poet--and therefore give none of them special responsibilities, funds for broadening interest in poetry, or a wee office in which to work. Consider all the well paid hacks that are on any state-governors staff, and consider what small percentage of one hack's salary would be needed to maintain the poet-laureate post, and, if you're a friend of poetry, you might manage a chortle--and then immediately start wondering about that word, "chortle."

So lift a glass or a pen to Samuel Hazo. May the road rise to meet Mr. Rendell, but may he also experience a Damascus-like vision on that road in which he realizes the services poetry may provide.

Mr. Hazo's bibliography below is courtesy of . . .


http://pabook.libraries.psu.edu/palitmap/bios/Hazo__Samuel.html



Novels
• Stills. Syracuse: Syracuse UP, 1998.
• The Wanton Summer Air. New York: North Point Press, 1982.
• Inscripts. Athens: Ohio UP, 1975.
• The Color of Reluctance. Story, WY: Dooryard Press, 1986.
Plays
• Solos. First produced at the Carnegie Lecture Hall, Pittsburgh, 1994.
• Until I’m Not Here Anymore. First produced at the Fulton Theatre, Pittsburgh, 1992.

Poems
• Just Once. Pittsburgh: Autumn House Press, 2002.
• Listen with the Eye. Pittsburgh: U of Pittsburgh P, 1964.
• Blood Rights. Pittsburgh: U of Pittsburgh P, 1968.
• The Past Won’t Stay Behind You. Fayetteville: U of Arkansas P, 1993.
• As They Sail. Fayetteville: U of Arkansas P, 1999.

Monday, September 14, 2009

Poet Laureate of the Netherlands

Here is some slightly belated news from the world of poetry in the Netherlands; the item is quoted from the site, Poetry International:

"On 28 January, on the eve of the National Day of Poetry of the Netherlands and Flanders, it was announced that 35-year-old Ramsey Nasr had won the public vote to become Dichter des Vaderlands – the title bestowed to the Dutch equivalent of Poet Laureate. Ramsey Nasr is a poet, author, actor and director. His first collection of poems 27 Poems and No Song was published in 2000. In 2005, he was city poet for Antwerp in Belgium."

Congratulations to Mr. Nasr. Now I must track down some of his poems.

Until I read this item, I hadn't realized the word for "poet" is exactly the same in Dutch and German.

http://international.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=13772

The Curse of Wealth?


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The Curse of Wealth?

Hear the penniless man howl
when you tell him wealth's a curse.
"Then curse me," he'll say, and
there's no argument good enough
to silence his derision. Still,

there was that rich man--he
just died--who seemed to drag
an invisible bag behind him,
full of capital, a father's
ambitions for his sons, blunt
and sharp weapons of politics,
all of it weighing so much, too much.

There was a family compound, also
a family-machinery that melted laws.
Amidst it all, the man was cursed
with living long, knowing secrets
and sin, and staying married to
noblesse oblige. He's elsewhere

now. Maybe God will have treated
him as just another soul relieved
of life, as someone blessedly
obscure. The penniless man scoffs
at such notions of tragedy and
theology, as well he might. Still,

the rich and public man knew misery,
a special kind, a gilded curse.


Copyright 2009 Hans Ostrom

Sunday, September 13, 2009

Philip Larkin's "Toads" For Monday

In the unlikely event you're feeling just a wee bit glum about going to work on Monday, please enjoy this reading of a poem by Philip Larkin, "Toads," which is not so much about toads as it is about being both a soul and a body and, more specifically, about being a person who works. The reading is accompanied by images of the text. If you like the dour humor of Larkin in this poem, you might (if you have not already done so) look at a famous poem by him, "This Be The Verse."

But for now, "Toads":

http://www.youtube.com/watch?v=T9xso6A_51w

Saturday, September 12, 2009

A Few Paragraphs About Swedish Poetry


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(photo: Uppsala, Sweden, castle in foreground, cathedral further back)





A few words about Swedish poetry, then:


"The poetry of Karl Vennberg (1910-1995), with echoes from T.S. Eliot, was critical of his age in much the same way as that of Lindegren. Vennberg was an analytical skeptic who sought to re-evaluate poetic and political truths. He made his debut in 1937 with Hymn och hunger (Hymn and Hunger) and continued to write poetry until his death.

One of Vennberg's disciples was the modernist poet Werner Aspenström (1918-1997), who was a successful playwright as well. Although his breakthrough came in 1946 with the collection Skriket och tystnaden (The Scream and the Silence), he is mostly associated with the fifties. One of the most widely read Swedish poets, he remained active as a writer until the end.

A number of women authors appeared during the forties, as well. The poet and prose writer Elsa Grave (b. 1918) wrote colorfully grotesque and angry poems about everything from motherhood to the threat of nuclear war. Taking her heroines from ancient mythology, Rut Hillarp (b. 1914) created an erotic surrealism and became an example for many female writers.

Stina Aronson (1892-1956) received her literary and public breakthrough with the modernist novel Hitom himlen (This Side of Heaven), 1946, in which she portrayed the taciturn women in the hardscrabble farming areas of northern Sweden."

I might add that my grandfather, Isaak Åström, came from Boden, "in the hardscrabble farming areas of northern Sweden." Here's to you, "Ike."

To read more, please follow the link:


http://www.samenland.nl/auteurs/inleiding_si_20eeuw.html

Canada's Poet Laureate

Who is Canada's Poet Laureate? I'm glad you asked, and, actually, you asked a trick question. Canada doesn't have a Poet Laureate, per se; it has a Parliamentary Poet Laureate--an important distinction, or so I infer, because the parliament decides who fills the post, as opposed to the prime minister, or in the case of the U.S., the president, or at least the Executive Branch.

Answer: Pierre DesRuisseaux

Here's a bit of information about DesRuisseaux:

Regarding Pierre DesRuisseaux

"Born in Sherbrooke, in the Eastern Townships, in 1945, Pierre DesRuisseaux graduated from the Université de Montréal in philosophy. He was successively an editorial writer for regional and national weeklies, including Le petit journal, a proofreader and a foreign correspondent (Middle East) for the magazine Sept-Jours.

Mr DesRuisseaux has published 14 collections of his poetry. His first book of poems, Lettres, published by Hexagone in 1979, was greeted as a revelation in Quebec’s literary world. In 1989, Monème earned Canada’s highest literary honour, the Governor General’s Award.

Another of his books, Le Noyau, was described by Louise Proulx in Livres et auteurs québécois as an extraordinary mingling of philosophy, semantics, literature, politics and poetry."

The information comes from the following site:

http://www2.parl.gc.ca/Sites/LOP/Poet/index.asp?lang=e¶m=2

Queen Victoria's Favorite Poet

Adelaide Anne Procter is widely considered to have been one of Queen Victoria's favorite poets, if not the Queen's very favorite. The poet was the sister of Bryan Waller Procter, a writer who knew both Romantic (early 19th century) and Victorian (the subsequent era) writers.

Here is a link to several sites that include information on Adelaide Anne Procter:



http://gerald-massey.org.uk/procter/index.htm


Arguably her best known poem is "The Lost Chord."

The Lost Chord


by Adelaide Anne Procter


SEATED one day at the Organ,
I was weary and ill at ease,
And my fingers wandered idly
Over the noisy keys.

I do not know what I was playing,
Or what I was dreaming then;
But I struck one chord of music,
Like the sound of a great Amen.

It flooded the crimson twilight
Like the close of an Angel's Psalm,
And it lay on my fevered spirit
With a touch of infinite calm.

It quieted pain and sorrow,
Like love overcoming strife;
It seemed the harmonious echo
From our discordant life.

It linked all perplexed meanings
Into one perfect peace,
And trembled away into silence
As if it were loth to cease.

I have sought, but I seek it vainly,
That one lost chord divine,
Which came from the soul of the
Organ, and entered into mine.

It may be that Death's bright angel
Will speak in that chord again,—
It may be that only in Heaven
I shall hear that grand Amen.



http://gerald-massey.org.uk/procter/index.htm

Friday, September 11, 2009

Franklin Roosevelt's Favorite Poem

According, at least, to one Web site I perused, one of Franklin Roosevelt's favorite poems was the well known "If," by Rudyard Kipling. Its rhetorical framework is that of a father speaking to a son. I need to say a word on behalf of my colleagues in the field of philosophy, however, who sometimes quite rightly think AND make thoughts their aim. First, the site; then the poem.


http://www.classbrain.com/artbiographies/publish/FDR.shtml


If

by Rudyard Kipling

IF you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:

If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: 'Hold on!'

If you can talk with crowds and keep your virtue,
Or walk with Kings - nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man, my son!

Keats's "To Autumn" Read Aloud

Well, here comes fall, often known as autumn in poetic circles, perhaps most famously in Keats's ode "To Autumn," which is read in a traditional (and deep) British voice in the following recording:

http://classicpoetryaloud.podomatic.com/entry/2007-05-28T23_15_03-07_00

Wednesday, September 9, 2009

If I Were A Werewolf


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(photo: Lon Chaney, Jr., as The Werewolf, in a hirsute werewolf-suit; photo courtesy Corbis)
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That "werewolf" includes the word/verb "were" has interested me for some time, and then I decided to write a poem called "If I Were A Werewolf," but one two-part hurdle I had to get over first is that I kept hearing "If I Were A Werewolf" sung either to the tune of "If I Were A Carpenter" or "If I Were A Rich Man." I shall leave the lyrics to those potential parody-songs to someone else. At any rate, I knew I had to go with free verse instead of anything resembling a ballad.


If I Were A Werewolf

If I were a werewolf, I'd know
where werewolves reside. Most
must hail and howl from
imagination, I imagine, but some
might come from outside Loreville.

Were I a werewolf, how would I behave?
Hirsutely, rudely, carnivoraciously?
I guess so, but maybe less so
than cinema would have it. Perhaps
I'd chiefly want to be alone,

denned up on some steppes, serenading
the loony moon, napping and scratching
like any other mammal. Or maybe
werewolves run in packs like lawyers,
politicians, and beer, in which case

I might have to have a role, a niche,
a boss, a pledge of loyalty, a werewolf
oath or anthem--the usual frightening
stuff that makes the atavistic hair
on the back of the neck stand up.


Copyright 2009 Hans Ostrom

Gary Snyder Reading at Noon

Here is a link to a video of Gary Snyder reading at the noon-time series, U.C. Berkeley, not that long ago--and after Snyder had retired from teaching at U.C. Davis:

http://www.youtube.com/watch?v=WxVZxJIYj6o&feature=related

Tuesday, September 8, 2009

Diane Di Prima Reads

Here is a link to a good video of Diaen Di Prima's reading of a poem about her grandfather. Like many other of her poems, this one contains references to things Italian and things political:

http://www.youtube.com/watch?v=NVN9lamJyoQ

Monday, September 7, 2009

Big Mama Thornton and Buddy Guy

Big Mama Thornton doing "Hound Dog" (she recorded it before Elvis did) with Buddy Guy on guitar: what's not to like?

http://www.youtube.com/watch?v=5XUAg1_A7IE

Johnny Cash On Labor Day

No one can touch Tennessee Ernie Ford's recording of "Sixteen Tons." One does wonder, by the way, how many people nowadays even know what "a company store" is. Johnny Cash did all right in covering Ford's song:

http://www.youtube.com/watch?v=boXa8c6OuRQ&feature=related

Sunday, September 6, 2009

Brief of History of the Working Class


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Labor Day seems like a good occasion to mention the following book:

A Short History of the U.S. Working Class: From Colonial Times to the Twenty-First Century (Revolutionary Studies), by Paul Le Blanc (Humanity Books, 1999).

Poets Born In September

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Who are/were some poets born in September? I'm glad you asked.

Theodore Storm, German poet. What a great last name for a poet. "Hi. Storm's the name, and poetry's the game."

T.S. Eliot, American and British poet, also known as Tse Tse [fly]--one of Ezra Pound's nicknames for him; and as Old Possum.

Robert Burns, poetic king of Scottish poetry and song. Allesandro Tassoni--Italian, as you might have guessed.

Siegfried Sassoon, British poet and "trench poet" from the Great War. Reed Whittemore--also a translator, if memory serves.

William Carlos Williams, American (of course), and one of those poets from whom other poets may learn a lot (in my opinion).

Michael Ondaatje, Canadian poet and novelist. He published a book of poems with "rat jelly" in the title. How great is that?

Jaroslav Seifert, Czech poet. I wonder if George Siefert, former coach of the San Francisco 49ers, is related to him.

Elinor Wylie--American poet, novelist, and nonfiction writer.

And Edith Sitwell, officially Dame Edith Sitwell, British poet. My favorite poem by her may be "Still Falls The Rain," and I have a recording of her reading it.

So much depends upon the red wheel barrow and on September poetic birthdays. I also have a brother who was born in September. The gift is in the mail, bro.

Saturday, September 5, 2009

Ronald Reagan and Poetry


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(the image is of a statue of St. Patrick, who was a native of France)




I ran across an interesting site about President Ronald Reagan and poetry, and the site even includes some poetry Reagan wrote early in live, as well as an excerpt from a eulogy for him by Ron Reagan, one that is written in free verse. Here is a link to the site:

http://www.thehypertexts.com/Ronald_Reagan_Poet_and_Poetry_a_Tribute_Retrospective_and_Memorial.htm




The site also includes this information:

In his travels through Ireland, Ronald Reagan once took note of a graveside epitaph at Castlereagh, the place where St. Patrick erected the first cross in Ireland:

Remember me as you pass by,
For as you are so once was I,
and as I am you soon will be,
So be content to follow me.


The site was established by Michael R. Burch.

Friday, September 4, 2009

Captions Without Drawings

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Here are some captions that are missing their drawings (cartoons), perhaps for good reason:

1. "No, sir, I'm afraid you may not enter our convent."

2. "God spoke to me and said, 'Glenn, you are God.'"

3. "And this just in to our news desk . . . I'm embarrassed to work for this network."

4. "So how does it look? I had the tailor add some Far-Left fringe."

5. "Dude, I thought you said we were going to a dude ranch?"

6. "Senator, it's the crazy constituent calling again with those facts we don't like."

7. "I believe the American people believe no one should use the phrase, 'The American people.'"

8. "Now I know why they call it the Big Apple."

9. "Welcome to the Big Apple, sir. I'm the Big Worm."

10. "After you turn 40, never weigh yourself unless you're in outer space."

11. "My boyfriend said he wanted to start seeing other people, and I said, 'That's cool with me,' and I removed his blindfold--but not the handcuffs."

12. "I couldn't believe it. I was walking down the street minding my own business when suddenly the onus fell on me."

Tuesday, September 1, 2009

Woman In A Waiting-Room

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Woman In A Waiting-Room

I guess her age to be 80. She's kept
herself looking the best she can: lean
like a late aunt of mine. The gray
hair's tinted blond but cut
with no-nonsensical reserve--the style's
what they used to call "page-boy."

Trousers, a sweater, sensible beige shoes.
Her back hardly lets her bow to examine
magazine-covers on a table. She squints
and scowls so hawkishly, I think for a
moment she's spotted a spider. She
selects none of the magazines: wise.

She sits now and looks out western windows,
lifts her face to muted afternoon light,
takes out a compact, and applies lipstick.
Blue eyes above lightly rouged cheeks look
coolly into the mirror's report. She's not
looking for approval, only information. She

forms her lips as she has done for more
than six decades. Compact and lipstick
disappear. She settles into the chair,
into defiant patience, and waits, newly
painted lips pursed, for her doctor's
nurse to open a door and call her name.


Copyright 2009 Hans Ostrom

Sunday, August 30, 2009

A Painter Reads a Poem About Painters

One of my favorite poems to teach (not necessarily the students' favorite) is "Musee des Beaux Arts," by W.H. Auden, and yes, there needs to be an accent over one of those e's in Musee, but I've yet to discover how to include accents using the blog-machinery. The name of the poem is the name of a museum in Brussels, and the museum includes the main painting about which Auden writes, Breughel's "Icarus," which paints (literally) Icarus in a very unheroic, unmythical light. "About suffering," says Auden's poem, "they were never wrong,/The Old Masters." I like the poem because there are so many different things to do with it in class, including teaching it as an example of an ekphrastic poem--a poem about art, a kind of art different from poetry.

Here is a link to a nice video of painter Susan Hambleton discussing and reading the poem. The video was produced and directed by Louis Massiah and is part of the Favorite Poem Project.

http://www.youtube.com/watch?v=SlbFQ5ZtjVY&feature=user

Friday, August 28, 2009

A Graphic-Novel About Senator Kennedy

A couple recent posts noted a favorite poem and a favorite song of Edward M. Kennedy's. Concerning literature about the late senator, writer Patrick Gavin at politico.com reports that a graphic-novel about Kennedy has been in the works but will now, of course, need to be revised.

The working-title of the novel, to be published by Bluewater Productions, is "Political Power: Ted Kennedy." Bluewater Productions has already published graphic-novels about Ronald Reagan and President Obama. Here is a link to Gavin's article:

http://www.politico.com/news/stories/0809/26511.html

One of Senator Kennedy's Favorite Songs

As noted in an earlier post, a favorite poem of Senator Edward Kennedy's was Tennyson's "Ulysses." Today I discovered in an online article from Time that one of the senator's favorite songs was, yes, an Irish one, but no, not "Danny Boy":

'Speaking on Wednesday, former Irish Prime Minister Bertie Ahern, an old friend of Kennedy's, revealed that one of the late Senator's favorite songs was "The Town I Loved so Well". The lyrics lament the decline of the city of Derry during Northern Ireland's 25-year sectarian conflict from a place of "happy days in so many, many ways" to a town "brought to its knees by the armored cars and bombed out bars." It was an apt choice of song for Kennedy, whose dealings with Northern Ireland were often linked to the city.'

(One may easily find the rest of the article online through the usual googlistic means, and I do hope you like that new adjective.)

When I taught in Sweden many moons ago, I met an Irish scholar who liked to sing a comic song called, "Burlington Bertie"; the reference to Prime Minister Ahern helped exhume that memory. The only line I remember is "I'm Burlington Bertie--I rise at four-thirty," meaning the man-of-leisure Bertie sleeps until late afternoon, I reckon.

From my youth, I seem to remember that one of John F. Kennedy's favorite songs was "Greensleeves." I wonder whether George Bush, President Obama, Dick Cheney, and Sarah Palin have favorite songs, and if so, what they are, and yes, I know I've just set up the stand-up comedians out there with some easy potential jokes.

I assume that politicians would have to think politically when selecting a favorite song to declare--rather like President's Obama's having to select a beer for the beer-summit with Professor Gates and the policeman. He made the safe choice, politically: Budweiser. One assumes he didn't become president by being a fool.

If asked about my favorite song, I'd first get boringly professorial and demand to know the categories, etc., and so forth, and yadda yadda. But if I answered straight from the shoulder, I'd say "Folsom Prison Blues" (or "I Don't Like It But I Guess Things Happen That Way") by Johnny Cash, and especially the former would not be a wise political choice. Nor, I presume, would "Bring on the Funk" by George Clinton and Parliament, but "Parliament" has to be one of the great band-names.

Thursday, August 27, 2009

Worrisome Quatrain

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Worrisome Quatrain

I like to worry about
things I can't control.
It works as well as eating
from an empty bowl.



Copyright 2009 Hans Ostrom

Wednesday, August 26, 2009

Senator Kennedy's Favorite Poem

According to a wide variety of online postings I've read today, "Ulysses," by Alfred Lord Tennyson, was apparently Senator Ted Kennedy's favorite poem. (On one site, a visitor reminded others that James Joyce had written Ulysses, but of course there is the poem by Tennyson and the novel by Joyce.) So I thought I'd post the poem, as borrowed with gratitude from the Victorian Web, which also supplied the notes following the poem:

http/:www.victorianweb.org


Ulysses

by Alfred Lord Tennyson

It little profits that an idle king,
By this still hearth, among these barren crags,
Match'd with an aged wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.

I cannot rest from travel: I will drink
Life to the lees: all times I have enjoyed
Greatly, have suffered greatly, both with those
That loved me, and alone; on shore, and when
Through scudding drifts the rainy Hyades
Vexed the dim sea: I am become a name;
For always roaming with a hungry heart
Much have I seen and known; cities of men
And manners, climates, councils, governments,
Myself not least, but honoured of them all;
And drunk delight of battle with my peers;
Far on the ringing plains of windy Troy.
I am a part of all that I have met;
Yet all experience is an arch wherethrough
Gleams that untravelled world, whose margin fades
For ever and for ever when I move.
How dull it is to pause, to make an end,
To rust unburnished, not to shine in use!
As though to breathe were life. Life piled on life
Were all too little, and of one to me
Little remains: but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this grey spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.

This is my son, mine own Telemachus,
To whom I leave the sceptre and the isle —
Well-loved of me, discerning to fulfil
This labour, by slow prudence to make mild
A rugged people, and through soft degrees
Subdue them to the useful and the good.
Most blameless is he, centred in the sphere
Of common duties, decent not to fail
In offices of tenderness, and pay
Meet adoration to my household gods,
When I am gone. He works his work, I mine.

There lies the port; the vessel puffs her sail:
There gloom the dark broad seas. My mariners,
Souls that have toil'd, and wrought, and thought with me —
That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads — you and I are old;
Old age hath yet his honour and his toil;
Death closes all: but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with Gods.
The lights begin to twinkle from the rocks:
The long day wanes: the slow moon climbs: the deep
Moans round with many voices. Come, my friends,
'Tis not too late to seek a newer world.
Push off, and sitting well in order smite
The sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down:
It may be we shall touch the Happy Isles,
And see the great Achilles, whom we knew

Tho' much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

[Tennyson's "Ulysses" first appeared in Morte D'Arthur, and Other Idyls. By Alfred Tennyson. London: Edward Moxon, Dover Street, MDCCCXLII. pp. 67. This, however, was a trial book, printed but not published. The first publication of the poem occurred in Poems by Alfred Tennyson. In Two Volumes. London: Edward Moxon, Dover Street. MDCCCXLII. pp. vii, 233; vii, 231. See "Chronology" in Henry Van Dyke's Studies in Tennyson (Port Washington, NY: Kennikat, 1920; rpt., 1966).

The text of the poem has been checked against the version in Victorian Prose and Poetry, ed. Lionel Trilling and Harold Bloom (New York, Oxford, and Toronto: Oxford U. P., 1973) pp. 416-418.

. . . And Speaking of Odes

. . . And speaking of odes, as the previous post did, the Poetry Foundation's site has a nice definition of and overview of the venerable form:

http://www.poets.org/viewmedia.php/prmMID/5784

Tuesday, August 25, 2009

Keats's Autumnal Gem


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American baseball player Reggie Jackson was dubbed "Mr. October" because he performed so well in several different World Series. Fair enough. But before that, poet John Keats might have earned the same moniker, or at least "Mr. Autumn," for having written his great ode, "To Autumn." I thought of the poem today as, like a lot of people, I caught that hint of fall--you know, something about the air-temperature, the look of some foliage, the knowledge that a tide of students is going back to school.

Here are the opening lines, which should be indented in a certain pattern (but the blog-machinery doesn't like to cooperate with that sort of thing):

I

Season of mists and mellow fruitfulness,
Close bosom friend of the maturing sun,
Conspiring with him how to load and bless
With fruit the vines round the thatch-even run:
To bend with apples the mossed cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimmed their clammy cells.


In this stanza as in the rest of the poem, Keats blends a deliberate, stately rhythm with a palpable sense of exuberance. The language of the poem itself seems almost to burst, full of ripeness. It's hard to achieve this kind of stateliness, common to odes, in contemporary poetry because there is a kind of demand for irony and cynicism. I happened to re-read the poem in Keats: The Complete Poems, edited by Miriam Allot, and published by Longman in 1970. The annotation of the poem reminded me taht the poem was written in September 1819 and was "the last of K.'s major 1819 odes" ( page 650).

Monday, August 24, 2009

A Few Words From Life

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A Few Words From Life

"I didn't make you any promises,"
said Life to the man. "You made them
and bounced them off a mirror you
named Life. You made those promises
yourself like a magician who forgets
his tricks are tricks." "Oh, I don't know,"
the man replied, "some of those illusions
I couldn't possibly have invented."


Copyright 2009 Hans Ostrom

Sunday, August 23, 2009

Traveling Cat

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Traveling Cat

He was a traveling cat. He raced
and slunk, padded and trotted, sleek
and balanced, tendons full of
saved up speed. He moved silently
except for a hiss or a yowl now
and then, or a tipped over can:
never his fault. Yes, he was a

traveling cat, moving from this to
that, from at to at, detecting
motion, smooth as lotion, reading
the air, decoding sounds sent
from everywhere. Itinerant and

cool, self-possessed and freely
feline--leonine, nined up with lives,
cagey but uncaged, guileless and wise
was the traveling cat.

Saturday, August 22, 2009

Move-In Weekend For Freshmen

I'm on campus for a bit of official business, and the campus is populated chiefly people who look about 18 years old and people who look roughly 53 years old. The latter group looks a little worse for wear; members of the former group occasionally look like they can't wait for members of the latter group to leave, and to leave them to their first week of college. Alas, this is move-in weekend for first-year students at our particular venue of higher education.

When I moved into the dormitory at the college I first attended, the scheme was pretty simple. My parents dropped me off with 1 or 2 suitcases and a large trunk. I think they got out of the truck to help remove the luggage out, but then they said goodbye and drove away. I dragged the luggage into the dorm, found room and room-mate, and we had lift-off. There was no orientation program.

I was just trying to recall what the first legitimate or "serious" poem was that I wrote in college. I think it may have been one called "John Muir's Ghost," a short poem that dutifully followed through on the title and depicted Muir's ghost having a great time roaming freely in the Sierra Nevada. I think the first line was "John Muir's ghost gallops, glides, and slips." I still like the play of language in that line--the g's and p's and s's.

No sign of John Muir's ghost on move-in day, so I assume the ghost is still down in California.

Friday, August 21, 2009

Phylis McGinley on Robin Hood

I was browsing through a favorite anthology, The Oxford Book of Satirical Verse, edited by Geoffrey Grigson. I think I purchased it not long after it was published in hardback (1980) because I was beginning to work on a dissertation about satirical poetry written by British poets in the "Romantic" (earlier 19th century) period.

Here is one of the shortest poems in the book:

Speaking of Television: Robin Hood


by Phyllis McGinley

Zounds, gramercy, and rootity-toot!
Here comes the man in the green flannel suit.

Like a wee pin, the poem lets the air out of a TV version of Robin Hood, or perhaps out of the TV appearance of Errol Flynn's famous cinematic rendition. I'm inclined to apply the poem to Kevin Costner's extremely puzzling portrayal of RH.

But mainly I thought . . . what a great idea for a series of poems--two-line rhyming epigrams about things on TV, or on the Internet. So I'll toss the idea out there for an poets who want to have some fun with it, and yes, I understand that your slang may not include Zounds, gramercy, or rootity-toot.

Thursday, August 20, 2009

International Anthology of Poetry

The blogger Poefrika has just logged a nice post on Fire in the Soul: 100 Poems for Human Rights, published by New Internationalist, with the support of Amnesty International. Poefrika also mentions two Zimbabwean poets whose work is included in the book.

Here is a link to the site and the post:

http://poefrika.blogspot.com/

Wednesday, August 19, 2009

August Afternoon

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August Afternoon

A breeze off Puget Sound curls
around a corner of the abode,
rushes through a line of herbal
foliage--three kinds of mint,
a stout rosemary plant, parsley,
chives, oregano, thyme, and
leathery-leafed sage. The breeze
organizes an aromatic syndicate,
which bargains collectively with
a gardener's sense of smell
on an August afternoon.


Copyright 2009 Hans Ostrom

Tuesday, August 18, 2009

Monday, August 17, 2009

Horizon

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Horizon

No one can measure the distance to
the horizon, only the distance from it.

The horizon doesn't exist, but it must.

One must determine the place between
high tide and low tide, then measure up

to the point from which one wants to

envisage the horizon, which is a fiction
resting on a line by the angle above sea-

level from which one overlooks ocean. Okay?

There is no fixed point to the horizon,
or to measurement, or to looking at the sea,

or even to living next to the ocean, a notion.

There is a sea, a coast, two tides, a triangle
tied to a plane on a sphere. Let's grant these,

please. There is no horizon, except insofar,
so far, as something seems to end out there

a certain uncertain distance from here. There

is no distance like show-distance to the horizon
because if one travels it, the distance, then

the horizon will have moved away. Nonetheless,

one is free to measure by the sea. They can't
take that away from thee. One is free to look

and to say, "Look, there's the horizon." Okay?

Copyright 2009 Hans Ostrom

Sunday, August 16, 2009

Strong Views

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Strong Views

On the narrow road rising steeply
to Sierra City's cemetery, a wry
sign notes, "Not A Through Street."
We set the headstone of a dead aunt
next to a rock wall her brother
built. We place beneath the concrete

a full bottle of whiskey, a
horseshoe, a deer antler, and
a piece of rose quartz. Otherwise,
the aunt's not represented here
except in our memories. Her
ashes travel up by an alpine
lake somewhere. The family's
idiosyncratic, you might say,

and tardy, even haphazard, with
its burial rituals. In fact, there
are no rituals, no funerals or
formalities. People get together
eventually, share some laughs
and glum grief, eat, and drink.

A panting black dog lies
in the truck watching us lay
the headstone. Later, the aunt's
remaining brothers will visit
the stone in the shade, have
a look, say a total of, oh,
seven words, maybe. For now,

we kid around in the cemetery,
get the job done, nobody's
business but our own. Goodbye
to Aunt Nevada. The smooth blue
stone, saved from an arastra,
gives the pertinent dates, her
other last name, and a nickname--
then mentions, "Strong Views."


Copyright 2009 Hans Ostrom

Saturday, August 15, 2009

Audible Is Laudable


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Audible Is Laudable

A crisper whisper would have been
audible to you. You wouldn't have
said, "What?" The whisperer wouldn't
have then withdrawn, mortified. You
wouldn't have made all those bad
guesses: Did she say, "Wild swans
used to be white, of course" or
"Michael wants you to rewrite
the reports"? or something else
entirely?
Why had she desired
to whisper? You can't ask her. She
has moved away from you to another
part of the room, is conversing
garrulously. Others look at you.
Again you say, "What?" but for
another purpose. You say it clearly.
They hear you. They say nothing.


Copyright 2009

Friday, August 14, 2009

Ford F-100 Coda

A correspondent from California who is familiar with the history of a particular Ford F-100 pickup (see previous post) observes the following:

"It should also be noted that for most of its life the F-100 rarely exceeded 40 mph so it's carbon production was very low when compared to the Ford Expedition behemoths that are rolling down the freeways of America every day at 75 or 80 mph."

Speed emits. I've never written that particular two-word sentence before; wow, that felt pretty good.

Thursday, August 13, 2009

Cap and Trade: Bring It On!

Apparently one proposal for reducing carbon emissions is known as "cap and trade," a concept that, I gather, involves charging companies (for example) for emitting carbon but allows companies to trade "units" of carbon they have been allotted.

Another proposal, already enacted, involves giving people $4500 for so-called clunker automobiles if they spend the $4500 on a car that emits less carbon.

These policies converge directly on my 1969 Ford F-100 pickup (step-side style, short bed).

I'm ready.

My secret weapon is the odometer, which I, which no one, has turned back, in case you're wondering. The total miles on the odometer is now 52,480. Divide that number by 40 (years), and you get the resulting miles driven per year and carbon emitted per year. Not many miles, not much carbon.

My late father drove the pickup until 1997, so almost all the credit for low carbon emissions and minimalist driving must go to him. Most of the miles he put on the truck involved going to and from work as a carpenter and stone mason; going "to town" to pick up the mail and some groceries; going hunting, which essentially involved driving straight up into the mountains (much elevation, few miles); and going in search of gold.

However, at the insistence of the Ford F-100, I have maintained the minimalist philosophy. If you would emit less carbon, suggests the Ford, drive less. I know: it is a complex theory.

To echo lines from Treasure of the Sierra Madre, I don't need no stinking $4500 dollars for my "clunker" (a term the Ford and I find offensive, incidentally), and bring the cap-and-trade on, baby. I will amass units of carbon that I will sell to, well, I don't know to whom--Du Pont? California? NASCAR?

When I do occasionally drive the Ford into my favorite working-class shopping area in Tacoma, the Ford gets a lot of approving glances--from persons of all generations and from both genders, believe it or not. The truck is certifiably funky. It is an automotive poem.

Wednesday, August 12, 2009

Motorcycles, 2:10 a.m.

Motorcycles, 2:10 a.m.

At 2:10 a.m., it is too hot to sleep. An open
window reports the sound of motorcycles as they
rage away from saloons' parking lots at closing-
time and down a long dark hill out there. The
thought of a drunk riding an unmuffled engine

home and startling people all along the route
salts an insomniac's grim sense of humor. A
soused, solitary biker riding is a raucous
creature, a sad Nietzsche in bluejeans, the
gas-tank shaped like a stylized tear-drop,

the woozy rebel's jacket hand-sewn by a
tolerant, bemused aunt whose husband, an
insurance salesman and the step-father
of the lad, drives one of those silent
hybrid cars and must arise at 6:30 a.m.


Copyright 2009 Hans Ostrom

Tuesday, August 11, 2009

Horse-Trail, High Sierra

Horse-Trail, High Sierra


Riding horses in the High Sierra, we take
trails threaded through hulking conifers,
bypass a Maidu/Washo ceremonial hill
covered with black gravel. Breezes off
Gold Lake wrangle scents of wildflowers,
thick aroma of skunk-cabbage, corn-lily,
and mountain misery. The horses snort
thin air. There's sign of bear.

Lightning felled a tree not long ago.
Now new thunder-clouds amass explosive,
creamy ambition over blue distant peaks,
east. Alpine meadows seem closer to
Paradise than most places, at least
in this easy summer's ride. The

sun-scalded cowgirl from Portola
leading the way shifts on the saddle
and hollers unsentimentally, "This
tree you're passing's over 300 years old."


Copyright 2009

Monday, August 10, 2009

Thoreau on August

Here's a quotation from Henry David "Hank" Thoreau (I think only a few of his Transcendentalist friends called him Hank) about the month of August:


"In August, the large masses of berries, which, when in flower, had attracted many wild bees,gradually assumed their bright velvety crimson hue, and by their weight again bent down and broke their tender limbs."
- Henry David Thoreau

I found the quotation, which amounts to a nice little prose-poem, at . . .

http://www.egreenway.com/months/monaug.htm

Sunday, August 9, 2009

Uncle Victor's Senility


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Uncle Victor's Senility


Uncle Victor's senility seemed comic then.
He was in fact a great-uncle, and we weren't
yet adolescents. He wore his hat when he took
a bath. He proposed marriage multiple times
to multiple nurses in the Old Folks' Home.

His skin was parchment-thin, the veins like
big blue roots. He trembled. We learned a new
word, "palsy." Now Alzheimer's and Dementia
name what we didn't know. Old Folks' Homes
are called Nursing Facilities. Victor woke

to memories scattered and broken in a meadow
of the mind. He picked one up, put it on his
head, took a bath, knew marriage was the logical
next step. To the vandals of Uncle Victor's
memory, we now say, "Shame on you."


Copyright 2009 Hans Ostrom

Poem By The Side of the Road


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Poem By the Side of the Road

Here is a poem that lives
by the side of a road
in the form of a shack
with a tin chimney stack
and a recluse stirring inside.

Walk on the road past
the shack if you will; see fine
dust rise from your foot-fall,
and if you're brave, shout a call
to the recluse stirring inside.

A poem is a shack, and a
shack is a poem, or
so the tautology flows. What's true
of poems and shacks? Who knows?
The recluse stirring inside.

Saturday, August 8, 2009

Mowers, Toes, and Phones

Mowers, Toes, and Phones

On a July day one barefoot American
teenager shouts into his phone outside
as another barefoot American teenager
is cutting grass close by with a snarling
power-mower. One of them needs to go
inside, and the other needs to put on
shoes, but only a fool would try to
tell them, so this fool, me, strolls by
and tries to enjoy the comedy and not
wince at the thought of those toes,
or of those ears owned by whoever's on
the other side of that shout, and I wonder
what marketeers created the category
"teenager," and I know one has to
have faith that young ones will grow
up and older ones will stay that way.
Yes, belief in maturation's based more
on faith than evidence, but by now
I'm a block away, and I don't have
to look at the toes inches away from
whirling steel blades or watch the
shouter compete with the voice of a mower.
A fool, I need to believe the two lads
will turn out all right, whatever than means.


Copyright 2009 Hans Ostrom

ABC of Under-the-Influence, Part Two

A correspondent from the foothills of California, where the creeks have known to run with whiskey a time or two, has offered a supplemental ABC of inebriation (below). Also, I remembered that my parents' generation occasionally described a drunken person as being "three sheets to the wind," which (being a literalist) I used to associate with bed-sheets hanging on a clothesline but which I now assume refers to sails on a ship. I also remember the same generation speaking of someone's "going on a bender," meaning the person had gone on drinking for, let's say, a week, or for a lost weekend, like Ray Milland's character in the movie.


A: Annihilated, aced, addled, ambushed

B: Blitzed, bent, bombed, blasted, bagged [in the bag], backed up, blind {blind drunk], blotto, brain dead

C: Confused, clogged, comatose

D: Detoured, damaged, dunked, (plus all of the hundreds of “drunk as…”)

E: Electrified, eighty-sixed, embalmed,

F: Feeling no pain, faced, fried, flattened, flaked

G: Gonzo, glocked, grossed out, gassed up, gone

H: Hijacked, high as a kite, half in the bag, haywire

I: In the weeds, in deep shit, in a puddle, invisible

J: Juiced, jammed up, jolted

K: Killed, knockered, kay-oed

L: Liberated, limber, lit to the gills, listing to port, lubed

M: Misty eyed, mellowed out, moronic, marinated, mummified

N: Nasty, nuked, nailed, numb

O: Over the edge, oiled, ossified,

P: Plastered, ploughed, pixilated, paralyzed, pickled

Q: Don’t know any “Q” words for drunk,
drugged, etc.

R: Roasted, ripped, rotten, ruined, rooted

S: Silly, stupid, skunked, slobbered, stinkin’ drunk, sauced, snockered (or schnockered), schwacked, sloshed

T: Toasted, tanked, throttled, totaled, thrashed

U: Undone, used up, unbalanced

V: Violated, varnished, vegetated

W: Wasted, wobbled, weirded out, woozy

X: Don’t know any “X” words for drunk, drugged, etc.

Y: Yanked, yellowed, yippy

Z: Zagged, zapped, zonked, zeroed out

Friday, August 7, 2009

An ABC of Inebriation

One interesting characteristic of most inebriated persons (and in this case, I'm using "inebriated" to refer to an altered condition created by a variety of substances, not just alcohol) is that they behave as if they are among the first persons in history to be inebriated. This is true of many college freshmen (to select but one of many groups). My generation of college freshmen--let's see, I think we began college around 1854--believed itself to be the discoverers of getting drunk, and I'm sure many freshmen in the Fall of 2009 across the globe will see themselves as discoverers of something new when they drink, smoke, etc.

Another oddity about inebriation is that, at least in the U.S., the language used to describe it is not complimentary. For example, people speak of getting "stupid," "smashed," "hammered," "destroyed," and so on. "Hey, dude, last night we got totally destroyed." I'm so happy for you! Dude.

At any rate, while I and my ancient auto were stuck in traffic (I was not inebriated), I got to thinking about an ABC of terms for getting drunk or stoned or high or whatever: inebriation in its broadest sense. So here's a list. When I have (at least as far as I know) invented a term, I have placed an asterisk beside it.

A: altered, avalanched* ("Oh, man, we got totally avalanched last night.")
B: bombed, blasted, baked
C: clobbered, crazy
D: drunk, damaged, destroyed
E: eroded* ("Jeez, we drank tequila all night and got very eroded.") I tested this descriptor on an audience, and the audience thought it was "dumb." I think it's a droll term, but drollery often fails.
F: the obvious one is "effed up," which is pretty funny when you think about it; what are those new to English to think of this? "We drank innumerable beers last night and got effed up." Really? How exactly does that work? "Fried" is one I've heard, too. Also "footless," as in "footlessly drunk."
G: giddy--hmmm, not very good; glad? No. Obviously, I'm having trouble with G.
H: Hammered; high.
I: Well, "inebriated." Also (under the) "influence". I've always thought this term was too soft. When someone gets drunk, drives the wrong way on a highway, and kills people, "influence" doesn't quite measure up. By the way, what is the condition of "ebriation"? "Honest, officer, I'm ebriated, not inebriated."
J: jacked? jolly? jacked up? joyous* ("Dude, we smoked some weed and got joyous.")
K: Kebobbed*? Knackered?
L: loaded, loopy, looped
M: mashed?
N: neutralized*?
O: obliterated; oppressed* ("Dave and I got a bottle of rum and got extremely oppressed, man.")
P: Pissed (a Britishism, I believe).
Q: Quarked*. I rather like this one. Quenched? I like this one.
R: Roaring drunk. This was a term I heard from my parents' generation. Rummy. Ravaged.
S: Ah, so many. Stoned, stupid, smashed, soused, silly, etc.
T: Trashed.
U: Unhinged*? Unbelievably drunk? That's cheating, using an adverb.
V: This is a tough one. Verved*? Vegetative? Vectored? "Hey, man, you want to go get vectored?"
W: wrecked, wiped out, whacked, etc.
X: Oy, this is tough. Xylophoned*?
Y: Young*. You know, like when old people get high, they feel young, so the next day, they say, "Hey, we got really young last night."
Z: zapped, zonked.

Thursday, August 6, 2009

Highest Form Of Art


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(Image: Mount Everest)
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Highest Form of Art

"I regard," said the famous novelist,
"tragedy to be the highest form of art."
We were meant gravely to absorb this
highest form of her opinion. One among
us, however, sneezed. Another, a
notorious literalist, believed
a makeshift sculpture on Mount Everest
to be the highest form of art. A
third believed tragedy to be the lowest
form of the raw deal offered by Life.

None of us spoke, though, until later.
We knew enough not to disagree publicly
with a famous, highly paid literary
guest, who seemed to be running a mild
royal fever; who appeared to be slightly
flushed with her current stature,
the highest form of her reputation.


Copyright 2009 Hans Ostrom

Fleeting Real


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Fleeting Real

There will always be time to talk
of politics, money, and law. Speak
of one, and you speak of all three.
See the gray cat sitting on a blue
chair? That's where we might begin.

We might also speak of hand-carved
spoons, fossils in a dream, or languid
lovers' restless fingers. The rest
is history, a kind of tidied up
lie or a molten sack of evil,
depending upon your point of skew.

A millenium's sadness sways
when a horse smells lightning.
Let's imbibe words on matters
such as these. The fleeting is
the real, as is a fantasy of
reeling in a moment that glanced
at memory's bait, declined to bite,
and dove to settle in the murk
far below an angler's flaccid geometry.


Copyright 2009 Hans Ostrom

Snapshot

The OED online tells me that "snapshot" (as a noun) goes back to the early 1800s in print and referred then to a more-or-less un-aimed shot using a gun. However, the word took on its photographic meaning not long thereafter, whereas I'd expected this connotation (now a denotation) to come from the early 20th century:

[1860 HERSCHEL in Photogr. News 11 May 13 The possibility of taking a photograph, as it were by a snap-shot{em}of securing a picture in a tenth of a second of time.]

(Quoted from the OED online)


Snapshot

By any means, capture an image,
mark an instant's interplay between
light and facial shape. Shuffle the image
off into memorabilia, through which
someone may sort or rummage some day
not soon. Whoever it is will wonder
whose image was captured back then,
back here, where at the gathering
we think we know who's here, what
they're wearing, what they show. So
yes, of course, take an image from
the flow, stabilize it in one of
the ways we know. Store it, for it
may be of interest one day, could be.


Copyright 2009 Hans Ostrom

Wednesday, August 5, 2009

Bear Nearby

Bear Nearby

Tonight a bear's at the perimeter,
beyond where cabin-lights dissolve.
The animal breaks brush and gulps air,
snorts, working hard, and we hear this.
We glance up at Ursa Major above
the Sierra Buttes, a risen massif.

We figure the bear's breaking down
an apple tree now and gorging--wild
and deliberate, focused and irascible.
We don't walk closer. The bear doesn't
advance. There's a distance to be kept.

There's a fascination in the dark,
which entertains a big invisible mammal
whose family's lived here since before
any human named constellations or
eavesdropped on night's business.


Copyright 2009 Hans Ostrom