Wednesday, October 22, 2014

"The Inspector," by Hans Ostrom




I don't think you're doing it the way
you're supposed to do it
(according to the specifications)
but who am I to say? And

if you're getting it done,
in this way of yours you use--
well, it's still getting done.
There is a right way and a

wrong way but at the same time
there are many ways. It isn't
logical I suppose as I have
phrased things. Anyway, consider

a mild objection almost to have
been raised. By me.
This is my job.
Sincerely, The Inspector.


hans ostrom 2014


Friday, October 17, 2014

"Hinge Collection," by Hans Ostrom

Of course, this is just part
of my collection of hinges.

But it may give you some idea
of the variety and kinds of
hinges,
of their ubiquity, of the
range of their design.

Also, you will likely note that,
unattached to anything
and without box, door, or shutter,
hinges become absurd.

Sometimes I think they
look like awful jewelry
or modestly successful
instruments of annoyance.
I hate them so, my hinges.

hans ostrom 2014



Wednesday, October 15, 2014

"Planet to People," by Hans Ostrom


"Well," said the planet
to the people living on it,
"apparently you will do what
you will do. But there is
this: remember that you
are not required for me
to survive, whereas
to persist, you need me.
Consider this a statement
of practicality, not one
of theory or art, politics,
religion, or science."


hans ostrom 2014


Tuesday, October 14, 2014

"To the Moon," Charlotte Smith





"Art for Something's Sake," by Hans Ostrom





Pater (Walt) wrote that all art
constantly aspires to the condition of music.

Some art, I think, aspires
to the condition of a sandwich
and a cup of coffee; some,

to the condition of
a large home in Bel Aire, California,
and you have to like that second e.

You know, some music
is not in great condition.
The same can be said of some artists.

Can art aspire?

I wonder if anyone called Pater "Walt."
I hope so. Because "Walt"

is musical, in its own way.
It's a beat. All art can
use another beat.



hans ostrom 2014





"People Are Terrible, No Exceptions," by Hans Ostrom


There are days when you'd settle
for running into just one person
who is at least less annoying
than you have become to yourself;
--and when even that is apparently
too much to ask.

So you go home loathing everyone.

Grudgingly, you think well enough
of yourself to get through the evening.
You observe your own quirky, tiresome,
reclusive behaviors.

You have no clue who
you really are or what
"really are" even means.
You have no interest
in finding a clue.

With disgust, then, you go to bed.
Sleep gives you desperately needed
respite from thinking of people
and your ego--that Self who's
just like everybody else.



hans ostrom 2014



Monday, October 13, 2014

"Have You About Had It?" by Hans Ostrom


You may have thought you were somebody.
Somebody like a joiner of wood or of metal pipes;
Like a CEO or a president;
A tribal elder; a teacher; a preacher; a shop steward.
Pillar of the community!
Maybe you thought you were a performer,
An artist; a critic—setter of tastes;
Or a citizen, oh yes—the authorities
Definitely want to know what you think.

Fool, you have been little more than an ox.
Ox, you have been little more than a fool.
You have been in harness, hauling the loads
Of shit that needs doing. You’ve been
Having your body and spirit broken,
Is what you’ve been up to. Boulders
Receive more respect than you. You’re
Worn out. You’ve been had. You’ve
About had it.



Friday, October 10, 2014

"Early One Morning,: by Edward Thomas





"Surreal Cat," by Hans Ostrom


Once upon a whatever,
as aluminum homes and nature
flew by where my windows
used to be, what with the tornado
and all,

there was a surreal cat.
Yep, that's what I have to report.

The color of her coat
depended greatly on
the nature of the magazine
one's eyeballs were reading to one.

"I think surrealism is bullshit,"
Margo said. "I think it is life
itself," replied Joe. Neither
one of them existed.

Things fall apart. That's
not necessarily terrible. Things
stay together--not necessarily
good. As to the falcon, the falconer,
and the goddamned gyres, who knows?
Seriously, Yeats can be
a real pain in the ass sometimes.

We at the Surreal Cat Corporation
appreciate your refraining
from talk of apocalypse.


"The Shame-Drain," by Hans Ostrom


Damn it, more than few people
among our seven or is it eight billion
need something like one of those drains
they put in patients after surgery,
except that in this case
the thing would be attached to the psyche--
a shame drain.

Hell, no wonder so many people
drown in and under the sheer tidal volume
of shame laid on them in their lives.
They slog through heavy shame
on their way to getting shamed again.
They breathe in particulate shame.
And yelled shaming hammers at their ears.

Drain that shame. It belongs to someone else.
Siphon that swamp, get out that bad water,
hateful slop, and wet air
that's got you slumped over, mumbling
things, loathing yourself.



hans ostrom 2014




Thursday, October 2, 2014

"Youth Isn't Wasted on the Youth," by Hans Ostrom


Youth's not wasted on the youth. They
seem to know just what to do with it.

Autumn, which they call Fall, generates
fine light that shines on the longest
hair most college women will have in
their lives; or the shortest. College men

have more friends now than they will
later, after work, ambition, and lore
deliver betrayal and failure.

Youth is interested in itself. Sure, it's
part echo, part narcissism. But it's also
bursting with sympathy and verve.
Eyes bright, smiles broad.

Young people know they know they're young
and would laugh big to be asked to think
otherwise. Old people over-think.

They whittle dry adages, and their shirts
look weird untucked: young, you can make
that look work. Young people

don't waste any time. Or they waste
a lot of time because of that luscious
youthful languor, which I kind of recall.
Anyway, it's early October, which is a country
for old men and every kind of people. Youth
is a team to cheer for; that's all.


hans ostrom


Wednesday, October 1, 2014

"After You Speak," by Edward Thomas





"Quietude of Minnows," by Hans Ostrom

Minnows, floating like flexible
galvanized nails, bunch their crowd
tightly in shadow, then disband
and dart. Clouds of starlings come
to mind. Quietude, sure, if only
I knew what that meant. I take it
to mean the opposite of noisetude,
so you can see I don't take it seriously.

For thoughts are imperialists and may
invade one another at any time. No reason,
then, to go out of your way to confuse
yourself and others. Or is there?

We need less reflection:
difficult to argue that. Of course
the sound of fighter-jets will intrude
noisetudinally (coordinates, please) and seem
to shake the surface of the lake
(to ask if there's been a goddamned mistake)
because we are at war again always, and the
joint-base is just down the road, right? In

other news, the Greed Opera is coming to town,
colleges have become pimps for loan-sharks,
Black folks remain under siege in some cities, decades
of that shit. And now somebody walks out from
the back of this poem carrying a gun,
a flashlight. I want to move but I can't. I

can sing, though, sort of, so I croakingly
melodize something about poets and minnows in their
schools, and I keep an eye on that gun,
and the Son of God is nowhere in sight.


hans ostrom 2014





Tuesday, September 30, 2014

"Chihuly Glass," by Hans Ostrom

Stuck to a steel frame, pieces
of former fluid seem to float
like tadpoles
like kelp globes
like lily pads
like figures in foam atop a German beer.

Lick them; they are lollipops.
Mock them; they are bugs.
Cheer them; they are art.
Laugh: they are funny shapes.

Orange yellow blue curls
and tails and blotches and blobs
brought out from fire,
confused dough, vibrant mud.

Dear Light: the glass-artist
likes to invite you in
for a cup of mad tea
because hey you came
all the way from the sun.



hans ostrom 2014
Dale Chihuly



"A Sort of Song," by William Carlos Williams





Monday, September 29, 2014

"American Poetry Managerial Decision," by Hans Ostrom

"And now out of the dugout strides the pitching coach, Cotton Mather. He signals for the closer, Emily Dickinson."

"That's right, Chuck, Manager Frederick Douglass has decided to remove starting pitcher Walt Whitman  and take his chances with the diminutive right-hander."

"Well, Juan, Walt had  very little control tonight, and his line-count was way up there. I think it's  good move, Juan."

"Me, too, Chuck. I mean, you have to like Whitman's swagger, the way he sings himself, but it's hard to argue with Douglass's move. Dickinson has been in these situations before!"

"You  bet, Juan--and here's Emily throwing her warm-up tosses to catcher Henry "The Hammer" James.  Her lines get there in a hurry, but she also has that uncanny ability to take a little something off the rhyme. She keeps the other team off-balance!"

hans ostrom 2014

Friday, September 26, 2014

"Of Rock and Roll," by Hans Ostrom

Straight-ahead, drive-it-through
rock n roll: sure, I understood it.
It was and is a loco-motive, a choo-choo train.
Noisy. Fun. I liked it.

R&B: well, to me
it seemed to be an octopus-shaped
alien ship covered in purple velvet,
wielding hammers, rolling out
blues in rhythms, landing here
to deliver the news about love
and work and sex and being
Black in Whiteville and being White
in Whiteville and desperately needing
the news. R&R never quite

did the same thing for me. It's probably
about more than taste or eras.
R&R, for all its value, seemed
like a filtration process; rhythm-and-
blues did not seem that. Seemed
a vast cultivation.


hans ostrom

"Recruiting More Students and Colleagues of Color at Liberal Arts Colleges: The Ten Essentials," by Hans Ostrom




(These are some remarks I'll give today for a panel on institutional change at the 3rd national Race and Pedagogy Conference, which is happening now where I teach, at the University of Puget Sound.  This successful conference is the brain-child of Professor Dexter Gordon, Director of African American Studies and the Race and Pedagogy Initiative,  and Professor Grace Livingston, who teaches in the program (as do I) and many, many collaborators.)

My main point of reference for this discussion is the University of Puget Sound, where I’ve taught for many years, but the discussion is really about the liberal arts college, as a model of higher education in general, and diversity, not about Puget Sound per se. 

I think that over the past decade and especially in recent years, the discussion about liberal arts colleges and diversity has shifted.  I’ve observed a change in the terms of the argument for diversity, from a kind of “it’s something we ought to do/it’s our obligation” to “it’s a matter of survival.”  In other words, the demographics have caught up with liberal arts colleges, which haven’t adjusted quickly enough.

So one organizing principle of my ten essentials, which I’ll distribute in a moment, is that a sense of obligation, progressive notions, public relations, and so on, aren’t enough to push the change that needs to occur.

A second organizing principle is that liberal arts colleges probably have to be more self-critical as they re-examine their assumptions, their ways of doing things, how they are perceived, and the rhetoric they use to describe themselves.  [refer to the Whitman example].

Third and last, I’d like to say that some good things came of the old model, which by and large sprang from a sense of noblesse oblige.  Real changes in co-curricular programs, curricula, defining academic and administrative positions, supporting conferences like this have occurred over the last few decades at many if not most liberal arts colleges. But that way of doing things has probably yielded all it can yield, so that now some long-delayed fundamental change must occur.  With that, . . . here is the list:

1.            Think of diversity as a necessity, not just  “a good thing.”

2.            The Board of Trustees/Regents (etc.) must regard diversity as a necessity.

3.            Find out who in the institution opposes diversity, and why, and be prepared to persuade them otherwise or move ahead without them.

4.            Find out what students and parents of color, colleagues of color, and the local community really think about your college and diversity.

5.            Spend the money.

6.            Consider the degree to which the college’s rhetoric about itself is exclusive or insular.

7.            Stop rejecting “vocation-speak”; employment after college should be of primary concern to liberal arts colleges, and it's connected to the concerns of all prospective college-students and it's of special concern arguably, to students from a variety of ethnic minorities.  (Recall that at least 5 of the original 7 liberal arts were what we might call vocational: grammar, rhetoric, logic, arithmetic, and geometry, the other 2 being music and astronomy.)

8.            Achieve  a critical mass of students and colleagues of color ASAP.  What constitutes a critical mass? The students and colleagues of color, among others, will let you know. Until then, carry on.

9.            Find out in what venues and circumstances students and colleagues of color are most likely to be alienated and respond accordingly.

10.          What are you willing to change about the “liberal arts college” paradigm?

Hans Ostrom, Professor of African American Studies and English, University of Puget Sound, Tacoma, Washington USA


Some Sources:

[the list of the original 7 liberal arts can be found on numerous sites online]

“The Most Economically Diverse Liberal Arts Colleges,” The Upshot, New York Times, Sept. 8, 2014.

David Leonhardt, “Top Colleges That Enroll Rich, Middle Class, Poor,” New York Times,  Sept. 8, 2014.


Katherine McClelland and Carol J. Auster, “Public Platitudes and Hidden Tensions: Racial Climates at Predominantly White Liberal Arts Colleges,”  Journal of Higher Education Vol. 61, No. 6, Nov. - Dec., 1990. 607-642.

Wednesday, September 24, 2014

"He Is Not a Random Man," by Hans Ostrom


A headline mumbled to me,
"Random man pricked with syringe,
told 'Welcome to the HIV club.'"
He's going to be okay, the man,
because of immediate medical attention.

Except that a headline writer
tried to turn him into a random man.

He is not a random man. He is
the man he is, none other. He
may have been randomly pricked.
But random pricking does not

a random man make.


2014 hans ostrom




Samuel Johnson on Patronage





Monday, September 22, 2014

"Practice Safe Poetry," by Hans Ostrom

How well do you know
the words you're using in poems?
How many other poets have used them?
How many of those poets are infected?

Practice safe writing. Do you know
the proper way to put a condom
on your cursor--or someone else's?
How clean are your pens?

When reading poems in public,
consider wearing a helmet
and safety glasses.

Be aware of your surroundings.
Check for enforcers sent from
various Schools of Poetry. Never

get between an ambitious poet
and a prize or a high poetic office.

Get your poems tested!


hans ostrom 2014

Friday, September 19, 2014

"Chekhov's Pistol," by Hans Ostrom

In this play I play
the role of William Shakespeare,
who is inside one of his sonnets on stage.
"I" stand in the glass cube (the sonnet),
on the walls

of which the words from the sonnet
appear. "I" shout the words
in random order. "I" strike
the words, curse, and stomp.

Someone pretending to care
comes and lets me out of the
cube. "I" introduce myself
as Bill S., an actor-playwright.
"Hi, Bill!" everyone shouts.
The set shifts.

I'm pushed under a kitchen
table: yep, an American play.
I fall asleep and snore and am
kicked by actors who are
drawing on their experience,
expressing truth, blah blah.

The American playwright
is in the audience, and under
orders from his management,
he acts like he's drunk,
bellicose, and talented.

No longer "I," "I" get out
from under the table and "kill"
all the characters with
a Renaissance sword--
revenge and all that shit.

Now Chekhov comes on stage
with a pistol and shoots me dead.
Dude, it is very cool. The actor's
from Sweden.

hans ostrom 2014

"We're Very Agreeable," by Hans Ostrom

How lovely of us to help
others keep us under surveillance
with devices we have solemnly,
enthusiastically purchased. A
good citizen is an informed citizen.

Some of us stand in line and ready
to trample each other to get mitts
on the new stuff. We're eager
to help states and corporations
know where we are and what
we're up to. Lovingly we tap

our devices with finger and thumbs.
We message, instantly! We opine.
We stay in touch. We stay in range.


hans ostrom 2014

"Mere Dissolution," by Hans Ostrom

Too tired to attend
the Entropy Conference in Antwerp,
Professor A.P. Ledlox stayed home.

He sipped cryptic broth
and fell apart emotionally.

He stared out the window
at an alleged landscape
(smears of gray and brown).

Oh, for a whiff of
a young woman's neck, oh
for a swim in an alpine lake, oh
for chrissakes shut up, he
told himself: It's

dissolution, mine. Yearning
will not halt or decorate it.


hans ostro 2014

Wednesday, September 17, 2014

"Prizes," by Hans Ostrom

Paradigm-shift 327.B.3 (revised)
stipulates that anyone expressing
or harboring interest in winning
prestigious prizes, awards, honors,
etc., shall receive it or them. Oscars,
Nobels, National Book Awards,
Pulitzers, Grammies, Laureates,
Man Booker Prizes, Woman Booker
Prizes, Dude Booger Prizes, etc.

After a brief period of mass-elation,
everyone will become unenthusiastic
about such crap. Total devaluation
of such prizes will ensue (the process
began long ago, truth to tell).

Whether more important matters
shall occupy us . . . shall remain
something else to hope for.

At least celebrity will come
to look like a deflated soccer-ball
withering on a dry lake-bed.



hans ostrom

"Anatomy of a Common Misfit," by Hans Ostrom

Sometimes he observes
neighbors, how they drive cars,
converse with each other, walk,
stand, live; and it seems to him

they're really comfortable
with these tasks of living.

He feels awkward by comparison;
and he compares. He feels
not comfortable.

He wishes he had sought
special training in his 20s,
not on the tasks themselves
(he knows how to do them,
and he does them)
but in the being-comfortable
part. Comfort with what
is alleged to be routine.

Now he can't change,
even if he wanted to.
The most he can do
is pretend to have
adapted properly. And
that's not so bad. He'll
leave genuine easy
living to the neighbors,
whom he waves at
in terribly awkward ways,
for example.

He belongs to a demotic
species--the Common Misfit.


hans ostrom 2014

Monday, September 15, 2014

Tim Earley


Tim Earley is a fine contemporary poet. Here is a link to some of his work:


link to book

http://horselesspress.org/2013/12/18/poems-descriptive-of-rural-life-and-scenery-by-tim-earley/




Friday, September 12, 2014

Diversity and Liberal Arts Colleges


A link to a piece about (the lack of) diversity, including economic diversity, at Whitman College. Implicitly the piece touches on a problem most liberal arts colleges now face.

http://www.theawl.com/2014/09/how-whitman-college-is-destroying-itself






Wednesday, September 10, 2014

"To a Child Dancing in the Wind," by W.B. Yeats





"The Cabin at Lavezolla Creek," by Hans Ostrom


When we built the Jones cabin
up Lavezolla Creek, summer,
Sierra Nevada, we left home
in the loaded pickup and worked
ten-hour days. The droning drive
in the '69 Ford F-100
took an hour one way.

The Old Man was nearing 60 years
then. At noon he'd take a cat-nap
on the plywood sub-floor, his silver
lunch-bucket the pillow, his hat
over his eyes. Snored. I remember
something like pity arising in me.
Now I'm sixty, the Old Man's been dead
a long time, and I ended up with
the green Ford pickup, which people
think is "cool." The recall

of bright summer, big conifers,
the quick creek, and work to make
you bone tired seems now like
something that will disappear soon,
like a butterfly or pine-pollen
floating in lustrous air. These tributary
memories that shape our maps
of ourselves disappear as we do.
No one will remember that the Old Man
and I were the crew.



hans ostrom 2014


Monday, September 8, 2014

"The Difference Between Despair and Fear," by Hans Ostrom





"Images Coalesce," by Hans Ostrom

I have come to believe
(note somber rhetoric)
that when the images
don't coalesce (there
is a chrome fender in
manzanita, a desire in me
to seem clever, billions
of objects and animals,
blue fabric, scalded flesh,
nothing, hydro-electric
dams, nothing, no connection,
and "surrealism" is no excuse,
shut up) we need to
let them be art.

The images coalesce
because to see patterns
has been drilled into us.
Capitalize. The images
coalesce because
our brains evolved,
along with much of what's
on the surface, and our
brains change what's here,
manufacturing patterns.
(Incidentally, who am I?
No, I mean really, who
am I?) The brain is
at home, that is.


hans ostrom 2014

Thursday, September 4, 2014

"Welcome to the Middle Class," by Hans Ostrom

To those concerned:
Welcome to the Middle Class.

Feel free to make as many
distinctions as you can
about things and people,
politics, art, food, animals,
and nothing. Feel free.

If you don't have an opinion,
make one up. We will assist!

Always spend more than you make.

Never relax, not really,
especially when you have
scheduled relaxation,
which is also competitive.

Cultivate a certain sensibility.
Keep score. Strive.


hans ostrom 2014



"Silver Glide," by Hans Ostrom


In the silver car
you're driving, where
did you get it, we snake
gracefully on a highway
that follows the curves
of hills near the sea,
hills embroidered with lights,
lights lining streets
and avenues. And the sense
of the sea in the dark.

And yes I know tomorrow
the car will be stolen,
you will blame me even
though you are my alibi,
and I will sit on a hot
sidewalk, staring
into sunlit murk of mist
and smog. But tonight it
is, will be, and was good,
a silver ride, a generous
glide through oblivion.


hans ostrom 2014


"Blues Talk," by Hans Ostrom


Blues talk, blues and talk, the need
to feel something, something real,
the want to break something,
to break what's learned by rote, take
the parts and heal them together
one time with the sacred and the frivolous
itch to play:

such is the incubatory campaign
that elected 12 bars
and gave jazz a lasting victory.

And you, you, you will want
to spend time with music made
by people with a freed inmate's
attitude, a worker's not a warden's,
and surely, surely not a guard's.


Wednesday, September 3, 2014

"He Wishes for the Cloths of Heaven," by W.B. Yeats





"Jane Austen Has a Headache," by Hans Ostrom

Jane Austen has a headache
from watching all those god-damned
adaptations of her books.
Film's too easy. Life is heavier
and slower than film, not pretty.
Life smells of chamber-pots,
rotten violets, horse-farts,
men's wigs, and mildew.

Obviously, thinks Jane's headache,
the main actors come from the new
aristocracy: celebrity. Off-camera,
they must be insufferable and stupid.

They don't know about Jane Austen,
her world, the smells and diseases,
the lovely cage of womanhood.
They don't know her headache.

They simulate the houses of her world.
They use industry-standard makeup,
lighting, and costumes. If the headache
weren't so bad, Jane Austen might be
alarmed.


hans ostrom

"Timidity," by Hans Ostrom

The systems fear timidity more than courage.
Timidity's a unique form of resistance:
not calculated, forced, or feigned.
Thus it must be broken, is the logic.

Demonized. Degraded. Turned into terror.
Timidity's the bravery of instinct.

The systems need people to cast off
less useful responses, leaving the ones
that help extract the most value.
Thus timidity must be turned into fear
or numb surrender.  One someone says,
"Don't be shy," consider it an order
and respond accordingly.


hans ostrom 2014

"Sociopaths," by Hans Ostrom


I've encountered quite a few sociopaths.
Some were famous poets. Some were
academics. Some both.

One sociopath patted me on the back,
just below the right shoulder, three times.
There was no sense of connection. The
interaction let me know I could be a tree;
his hand, a chainsaw.

Another sociopath grabbed my ass
(the right cheek) at a large crowded
wake. He could have been massaging dough.
(He had a cooking show.)

One of these two sociopaths is dead,
and the other might as well be.
Every so often, I wake from
a malformed nightmare. Something
about hands fashioned from metal,
eyes from ivory. I am not recognized.


hans ostrom 2014


Tuesday, August 26, 2014

"Jesus and the Condominium," by Hans Ostrom


Somewhere in the United States, someone
is trying to sell Jesus a share
in a condominium-scheme. Christ
is told He may vacation anywhere
in the world using a complicated
point-system. First He must pay
a lot of money to participate
in the point-system. Did

a counterpart to the verb, "to vacation,"
exist in Aramaic? Jesus is trying
to remember. He thinks it's a miracle
that people fall
for such scams. Christ notes

that sales-eyes are not on the sparrow,
and sales-affections lie not
with the poor. After he says

"No" the seventh time, he adds,
"I live in Heaven for free
and come here to Hell only
on business.Therefore this package
is not for me."


hans ostrom 2014



"Opinions," by Hans Ostrom

Opinions, the styrofoam peanuts
of human discourse, proliferate;
are almost weightless; annoy
so much they wither us. The more

opinions most people hear or read,
well, the more they think they
should cultivate their own. A few
respond another way. They constrain

their points of view, refuse to argue,
wait for evidence but rarely
trust it. They're just fine with
saying "I don't know." Terrifying words.

Sometimes I place the word "opinion"
next to the word "onion." It is fun
to look at them side by side. Always
I prefer "onion" to "opinion."


hans ostrom 2014



"Out Fairly Far," by Hans Ostrom


We're fairly far out now, well
past the harbor. We float on darkness,
look back to diminished city lights.
Stars gain candle-power. The sea

makes more sounds than we can
listen to. None of us knows
why we're out here, not really.
All of us fell short of

our dreams for ourselves. The
dramas of our lives are small
but exhaust us still. There is no
captain. We take turns at the helm.


hans ostrom 2014


Friday, August 8, 2014

Found Poem: "Rates"

Of course,
the closer you are to your
death-bed,
the higher
the rates will be.


Hans Ostrom 2014

Hans Ostrom's Big List of Things to Write Poetry About

(or . . . About Which to Write Poetry; or Fiction, for that matter)

1. Say, "I can't believe I've never written a poem about [         ]" and then fill in the blank as you wish.
2. Real birds, closely observed.
3. Real human gestures, closely observed.
4. Imaginary human gestures.
5. Odors, stenches, smells, aromas.
6. Your own feet.
7. Imagine the lines on one of your palms are from a map. Of what?
8. About that time when you were excluded from a group.
9. About that time you had a hand in excluding someone else from a group.
10. Guilt.
11. Joy, the real ecstatic stuff.
12. Thinking, the process off. "Watch" yourself think.
13. War, if you've been to war.
14. War, if you haven't been to war.
15. A piece of art. Any piece of art. This would be an ekphrastic poem.
16. Work. Such as a specific job you held/hold.
17. A specific place in a big city; medium-sized city; town; small town.
18. A scene as seen by someone else.  Or as experienced by someone else. Perhaps even in their spoken or interior voice.
19. Cursing, curse-words.
20. Toys. Old toys. Imaginary toys.
21. A specific plant, closely observed.  Weed, flower, vegetable, shrub.
23. Something seen through a different lens: microscope, telescope, some kind of window.
24. Dancing of some kind.
25. A quiet place in a big building.
26. A noisy place in a big building
27. Hair.
28. Fashion.
29. An ethical dilemma.
30. Money. Actual money (coins, bills, checks, virtual money). Concerns about money. Desires connected to money.
31. An imaginary room or space that you "add" to an abode you once lived in.  Let's say you lived in a one-bedroom apartment or a two-bedroom shack.  Add one room or space and write about it.
32. An unusual experience with an animal.
33. Insects. Arachnids.
34. Rain.
35. Snow.
36. Illness.
37. People in power. A person in power.
38. An engine or motor of some kind.
39. Words you like, dislike, misuse, use too much, never use.
40. Reactions, responses, free-associations connect to the number "40" or the word, "Forty."
41. Learning to do something.
42. Forgetting how to do something.
43. Cooking.
44. Eating.
45. Copulation.
46. Other people, working.
47. Other people, worshipping.
48. Bones.
49. Dreams, as in nightmares.
50. Ambition.
51. Candy.
52. Playing a musical instrument.
53. Hypocrisy--yours, preferably; or someone else's.
54. Serendipity, an example thereof in your life.
55. Make several words out of  letters from the word, "serendipity," and start a poem using those words.
56. Write a poem that is one long, well shaped sentence.
57. A list-poem.
58. A how-to poem: how to fall in love, how to cook an egg, how to listen to an old person, etc.
59. Expedience.
60. The way a politician talks.
61. Your handwriting.
62. A childhood friend.
63. A childhood imaginary friend.
64. An amphibian.
65. A reptile.
66. Some aspect of science or medicine.
67. Some aspect of technology.
68. Conversations you hate to have with yourself.
69. Weight-gain.
70. Weight-loss.
71. Something you've read.
72. An homage-poem about someone or some event.
73. Jealousy.
74. Rage.
75. Envy.
76. Gluttony.
77. Privilege.
78. Tastes--beverages and food.
79. A quality of light.
80. Education.
81. Hate.
82. Confusion.
83. Something you regard as dull: the topic of life insurance, technical manuals, advice, shit other people seem to like a lot, etc.
84. How not-special you are.
85. How special you are. You can be sarcastic, of course.
86. High school athletics.
87. High school mean-ness.
88. High school: the physical landscape of it.
89. Yourself in 5 years.
90.Cloth.
91. Metal.
92. Wood.
93. Rocks.
94. Breathing.
95. An absurd situation.
96. Poverty.
97. A law.
98. A rule.
99. Rhythm.
100. Awkwardness of any kind.
101. Mathematics.
102. Religion.
103. Philosophy. A philosophical quotation.
104. Suburbia.
105. A proportionally accurate map of the world (you might be surprised).
106. Geology.
107. Economics.
108. Plastic.
109. Underwear.
110. Violence.
111. Redemption.
112. Weather.
113. Climate.
114. A mask.
115. A road.
116. A woman.
117. A man.
118. A trans-gender person.
119. Processed food.
120. Ice.
121. What's in a bathroom.  Specifics.
122. Your skin.
123. A time-piece.
124. Something you enjoy touching.
125. A letter to someone you will never meet.
126. A text-message to God.
127. A text-message from God.
128. Your own birth--make something up.
129. Punctuation.
130. Various oils.
131. A place that "disappeared": such as a field on which people built something.
132. A creek.
133. A culvert.
134. A tunnel.
135. A small pond.
136. Tools.
137. Pretentiousness.
138. Pigs.
139. Snakes.
140. Smoking.
141. A very hot day.
142. Noses.
143. Tiny creatures, such as fleas and mites.
144. Dusk.
145. Getting up early.
146. An apology.
147. Belts, scarves, ties--accessories.
148. Listening to the radio.
149. Not listening to the radio.
150. The physical qualities of some kind of computer.
151. A town you visited precisely once.
156. Air.
157. Washing clothes.
158. Something you are good at.
159. Drums.
160. Wires.
161. Death.
162. An old movie.
163. An awful cafe.
164. A form of spirituality not your own.
165. Zeno's Paradox.
166. Something in a museum.
167. Mirages.
168. Annoyances.
169. Dizziness.
170. Working out.
171. Not working out.
172. Dependence.
173. Independence.
174. A coastline.
175. A concept you may not understand, such as relativity or the horizon.
176. Fixing something. Repairs.
177. Shoes.
178. Something hand-made.
179. Something mass-produced.
180. Advertising.
181. The language of finance and investing, as applied to something else, such as sex.
182. Breasts.
183. Genitalia.
184. Something weirdly comic.
185. The oldest person you know.
186. Guns and ammo.
187. Yoga--whether you practice it or not.
188. Feces. Like dog-shit.
189. Stairs.
190. A piece of public sculpture.
191. A recipe.
192. Video games.
193. Astronomy.
194. Astrology.
195. A chore, a task, a routine.
196. Language itself, my dear.
197. Alchemy.
198. Bullshit, figuratively.
199. Bullshit, literally.
200. Farming.
201. Ranching.
202. Commercial fishing.
203. Vegetables.
204. Hiking.
205. Mobility via wheel-chair or crutches.
206. An impairment.
207. A gift.
208. Lessons you didn't like: music lessons, swimming lessons, etc.
209. An invented lesson.
210. The concept of "zero."
211. Something you think "belongs" to you.
212. An official form of some kind.
213. Any two or more of the above in combination, such as "a gift" and "a chore."
214. Why the joker is, in fact, not wild.
215. A game.
216. Phrases like "You're welcome" or "Make yourself at home."

--Hans Ostrom, 2014

"Love Not In Demand," by Hans Ostrom





Thursday, July 24, 2014

"I Wonder What Your Latitude Is Tonight," by Hans Ostrom


I'm going in another direction.
But I might see you when
the Earth turns around.

The blood on my hands
(not mine by the way)
turned into foaming rainbows.

I'm now riding through the "sky":
it is so mild. And I wonder what
your latitude is tonight.




hans ostrom 2014




"Sierra Buttes," by Hans Ostrom


The Sierra Buttes
are what Cubism
had wanted to be:
a multi-planed,
sui generis impro-
vization, a force
of nature admired
as an object d'arte.

Up were the plates
thrust in the patient
geological crash.
Then came the mother
tongue, ice, which

ultimately withdrew
(think how slowly),
leaving this grand
stone assemblage,
this blue-jazz
diorite peak
with no peak,
instead a bulbous
massif.

Every different angle
invents a new Buttes
(plurality in the
singularity of the
plural singular),
each resulting in

an entirely different
understanding of
"the Sierra Buttes."
Standing in the town
of Sierra City,
one notices that
looking up
creates in humans
uncomfortable planes
for the head and the

neck. And it is
no wonder that people
who live in
Sierra City and other
small mountain-towns
around our
geological globe
tend to
develop highly original
designs for calamity,
have crafted
grand existential comedies--
forces of life
that may never
be shaped into art.

For there is no answer
to the mountain,
there is no solution
to how the Sierra Buttes
trivialize
human endeavor,
or so think humans
(this is drama
on our scale)
as they consider
the mountain the
mountain.


hans ostrom 2014



Sunday, July 20, 2014

"The Wind Sprang Up at Four O'Clock," by T.S. Eliot





"Economics," by Hans Ostrom

Why do I have to share?
You don't have to share, if
you're opposed to sharing.
Why would I want to share?
You would want to share
because you are able to do so
and because
sharing expresses the proper
blend
of your will and your empathy.

. . .No one leads
a completely individual life.
Eventually everyone
needs someone, wants
others. There
sharing begins.. . .


hans ostrom

Monday, July 7, 2014

"Fin," by Hans Ostrom

I grew a fin.
It helps me swim.

The wife of many years
divorced me. She
thought the issue of a fin
was insurmountable.

I had to learn
to sleep on
my side or belly.
Also, clothes:
you can imagine.

Otherwise,
I don't care.
Everybody's
got something.
I have a fin.


hans ostrom 2014



Thursday, July 3, 2014

"Dig," by Hans Ostrom

Look down, if you like,
on this archaeological dig:

where once someone
stood and looked
at ruins left by previous
inhabitants.

Behind us and slightly
above will stand
someone looking down
at this old place,

decrepit in future.
Odd, this desire

to pass through
a crowded, vibrant
city of noise and
pulse, the great fracas,

so as to stand still
and gaze upon
sad stones on which
throngs lived long ago.

Blame it on Time, which makes
us chronological voyeurs.



hans ostrom 2014

"Radar Songs," by Hans Ostrom

Airline attendants walk among us,
angels of the Aisle. They draw
lines on air and attend to them.
They feed us nectar and encrypt

aluminum dreams. We're the departed,
scheduled to arrive at a gate
leading anywhere. Airline attendants
speak hypothetically of a

"water landing," which is more
of a problem than a seat-cushion
can solve. Fasten your seat-belts,
Believers, and fly fascinated!

Resort to destinations
and leave your baggage unclaimed. Let
it ride like an old symbol
around the dream-slow carousel,

which implies that all human activity
proves to be absurd eventually
if not sooner. That is why airline
attendants will dance

around the Control Tower
tonight (whisper: tonight!),
raising a chorus
of radar songs.

hans ostrom 2014

"Love to Faults is Always Blind," by William Blake





"Julia," by Robert Herrick