Tuesday, August 31, 2010
"September 1, 1939," by W.H. Auden
On the precipice of another September 1, I thought of W.H. Auden's famous poem--one he later disavowed, in a way, by choosing not to include it in collections over which he had editorial control. His argument was that the line "we must love each other or die" was illogical insofar as we will die whether we love each other or not, but of course, few if any readers read the line that literally, and I doubt if Auden meant it that way. He was also a notorious reviser of poems after they had been published (as was Wordsworth): the sort of thing that causes arguments amongst scholars and critics.
One of the best recorded readings of the poem is by "Tom O'Bedlam" on Youtube. It really is terrific:
September 1, 1939
One of the best recorded readings of the poem is by "Tom O'Bedlam" on Youtube. It really is terrific:
September 1, 1939
Monday, August 30, 2010
Sunday, August 29, 2010
Saturday, August 28, 2010
Friday, August 27, 2010
Thursday, August 26, 2010
Wednesday, August 25, 2010
Concerning Failure
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Concerning Failure
All right, if it makes you feel
worse or, somehow, honest,
say it. Say, "I've failed."
There. Surprised by how you feel?
Liberating, isn't it? You may
even go further, go all operatic,
and say, "I'm a failure." Woe
is you, etc. Splendid. Now
you may enter the zone
that transcends success and
failure. It lies beyond
soccer fields, board-rooms,
high-school football stadiums,
televised awards-shows, and
academic journals with a
circulation of 15 and
a readership of 0. Not
that we're keeping score,
or anything.
Guess who else lives in
that zone? Everyone who
ever mattered. In that place,
fame's considered a rash,
and there's even an
ointment available.
Copyright 2010 Hans Ostrom
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Concerning Failure
All right, if it makes you feel
worse or, somehow, honest,
say it. Say, "I've failed."
There. Surprised by how you feel?
Liberating, isn't it? You may
even go further, go all operatic,
and say, "I'm a failure." Woe
is you, etc. Splendid. Now
you may enter the zone
that transcends success and
failure. It lies beyond
soccer fields, board-rooms,
high-school football stadiums,
televised awards-shows, and
academic journals with a
circulation of 15 and
a readership of 0. Not
that we're keeping score,
or anything.
Guess who else lives in
that zone? Everyone who
ever mattered. In that place,
fame's considered a rash,
and there's even an
ointment available.
Copyright 2010 Hans Ostrom
This and That
My friend Charles Whitley, Jr., (sometimes known as Carter Monroe, the name under which he publishes), legendary poet and editor and the sage of North Carolina (and beyond) sent me two excellent links, the first to an essay about 19th century American writers, the second to a wonderful resource for online literary publishing:
http://www.theamericanscholar.org/voices-of-a-nation/
Another poet friend of mine, Kevin Clark, recently had lunch at Pacific Lutheran University, where each summer Kevin teaches in the low-residency M.F.A. there: the Rainier Writers Workshop. Kevin regularly teaches at Cal Poly San Luis Obispo and has a new book out: Self Portrait With Expletives.
We chatted about L-A-N-G-U-A-G-E poetry, some of which I like more than he, perhaps. His notion is that L-A-N-G-U-A-G-E poets share a fundamental epistemology/ontology--namely, a materialist one, where no transcendent meaning exists. I wonder if in fact all such poets embrace a materialist philosophy.
To the extent they do, there might be a slight problem, not insofar as they are presenting their language, their poetry, as a material artifact but insofar as they are implicitly presenting themselves as arrangers if not interpreters of the material thing, language, for if language is merely a flow--one creek--of material, why do we, why does culture, need any particular poet to present it to us. If there's no transcendent meaning, then do we require any particular trans-lator?
Nonetheless, one great thing about poetry is that it's . . . poetry and may misbehave in relation to its creator's philosophy. I mean, if you judged Yeats strictly by his gyre-theory, you wouldn't be much interested in reading the poetry, but when you go to the poetry, there's some good stuff here and there.
But I must consult with Charles about this. I'm in need of a sage--at least!
http://www.theamericanscholar.org/voices-of-a-nation/
Another poet friend of mine, Kevin Clark, recently had lunch at Pacific Lutheran University, where each summer Kevin teaches in the low-residency M.F.A. there: the Rainier Writers Workshop. Kevin regularly teaches at Cal Poly San Luis Obispo and has a new book out: Self Portrait With Expletives.
We chatted about L-A-N-G-U-A-G-E poetry, some of which I like more than he, perhaps. His notion is that L-A-N-G-U-A-G-E poets share a fundamental epistemology/ontology--namely, a materialist one, where no transcendent meaning exists. I wonder if in fact all such poets embrace a materialist philosophy.
To the extent they do, there might be a slight problem, not insofar as they are presenting their language, their poetry, as a material artifact but insofar as they are implicitly presenting themselves as arrangers if not interpreters of the material thing, language, for if language is merely a flow--one creek--of material, why do we, why does culture, need any particular poet to present it to us. If there's no transcendent meaning, then do we require any particular trans-lator?
Nonetheless, one great thing about poetry is that it's . . . poetry and may misbehave in relation to its creator's philosophy. I mean, if you judged Yeats strictly by his gyre-theory, you wouldn't be much interested in reading the poetry, but when you go to the poetry, there's some good stuff here and there.
But I must consult with Charles about this. I'm in need of a sage--at least!
Monday, August 23, 2010
Saturday, August 21, 2010
Exercise
Exercise
1. Scramble the letters of your name; include a middle name if think you'd like those letters.
2. Make words out of the scrambled letters.
3. Using only these words, write the first line and the last line of a ten-line poem. The lines might well be short ones.
4. Optional. Make it a rhyming poem of some kind. I repeat: optional.
5. Optional. Now take the 10th line, make it the first line of a new poem and make the 9th line the second line, and so on. You may of course make adjustments in syntax, etc., to make the poem flow in reverse, so to speak.
6. Don't take too long. Have fun. Drink lots of water.
1. Scramble the letters of your name; include a middle name if think you'd like those letters.
2. Make words out of the scrambled letters.
3. Using only these words, write the first line and the last line of a ten-line poem. The lines might well be short ones.
4. Optional. Make it a rhyming poem of some kind. I repeat: optional.
5. Optional. Now take the 10th line, make it the first line of a new poem and make the 9th line the second line, and so on. You may of course make adjustments in syntax, etc., to make the poem flow in reverse, so to speak.
6. Don't take too long. Have fun. Drink lots of water.
Sticky Words
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Stuck With Words
Touch a word, your finger
might stick to it, as if
the word is saying you.
Jack Spicer advised wearing
gloves. Or did he? He advised
a lot. Those blasted words,
they want you working for them,
not the other way around. They'll
find you on a street in Istanbul
where you stopped to rest
and drink some tea. They'll
show up in North Carolina just
when you went out on the porch
to get away from chatter.
You want them working for you.
What if you stopped wanting that?
But how would that? Let it. Photo
of a toe. Toe photo, tofu, o future
once and present perfect queen
of Fubaro. Plant corn flakes.
Unless otherwise specified, this
is it. What's the context? I'd
have to know the contest. Hear
the filibuster in a country
church. If the preacher talks
long enough, God can't bring
a piece of legislation to the floor.
But he can knock down the door,
and that's for starters. "For
starters": see, see how those
two words stuck like something
from grass on your socks, after
you sought something in a meadow?
Copyright 2010
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Stuck With Words
Touch a word, your finger
might stick to it, as if
the word is saying you.
Jack Spicer advised wearing
gloves. Or did he? He advised
a lot. Those blasted words,
they want you working for them,
not the other way around. They'll
find you on a street in Istanbul
where you stopped to rest
and drink some tea. They'll
show up in North Carolina just
when you went out on the porch
to get away from chatter.
You want them working for you.
What if you stopped wanting that?
But how would that? Let it. Photo
of a toe. Toe photo, tofu, o future
once and present perfect queen
of Fubaro. Plant corn flakes.
Unless otherwise specified, this
is it. What's the context? I'd
have to know the contest. Hear
the filibuster in a country
church. If the preacher talks
long enough, God can't bring
a piece of legislation to the floor.
But he can knock down the door,
and that's for starters. "For
starters": see, see how those
two words stuck like something
from grass on your socks, after
you sought something in a meadow?
Copyright 2010
Friday, August 20, 2010
Thursday, August 19, 2010
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