At a Reservoir of Inquiry

Warm winter day at
a California university:
this one's origins lie
in agriculture. Between
academic terms, the campus
is deserted. Squirrels

maintain their studious
consumption of acorns
raining from valley oaks
that have mused over
millions of scholars
down the decades.

One squirrel runs
up the steps of the Success
Center, which is closed.
The current campus
populace will flood in
soon, filling the reservoir
of inquiry as feudal
stupidity reigns on the
other side of the continent.



hans ostrom 2018

The Mother of All Poems

When I think about writing the mother
of all poems that is to say a big serious
poem about my mother, I think about
the poem I wrote, in Karl Shapiro's class,
about how a piano contains all notes,
all potential melodies, etc., in some kind
of ideal way. And after I read it, Shapiro
said to the class, "D.H. Lawrence wrote
a poem about a piano, but it was really
about his mother; he was in love with
her." I found the comment unhelpful,

plus suggestive of incest. Oh, well:
workshops. I also think of my mother
and her low tolerance for nonsense,
such as puppets and murderers.  She
sat on the jury that convicted serial
killer Larry Lord Motherwell (ahem),
which was the name he, Frank
Eugene Caventer, gave himself,
a nom de meurtrier.

Ma wanted to make sure Motherwell
got the gas chamber, and she never forgave
the one juror who prevented that.
Anyway, I really don't feel like writing
an ambitious poem about my mother.
It seems like too much work for too
little gain, and I don't know--
Freud, Shapiro, and millions of
other people have kind of ruined
the subject for me.  My mother liked
to drink Hamm's beer out of the can.


hans ostrom 2017

Lunar Eclipse Seen from the Central Valley

(California: April 1979)

 We sipped tequila from a bottle,

saw a shadow push into the moon,

which took on a planet’s gravitas,

losing its varicose craters, its

coin’s gloss.  Then its yellow

turned brown and red enough

to make a farmer look at it

as arable space. We enjoyed

the eclipse’s math and chance,

tried to focus binoculars

using a rooftop TV antenna

as approximative point.

We tried to shape our minds

around such fear and magic

as hunters/gatherers

may have felt. We failed.

We joked, and after midnight,

we opened doors of our several

abodes in a college-town stucco

hive.  We set clocks,

listened to household engines,

to music from vinyl undulating on a

turn-table like glassy harbor

water. Our dreams orbited desire.

Hans Ostrom 1979/2017

"Young Woman on Old Skates," by Hans Ostrom

So she nibbled at the
right-hand bit, and did not
venture to go near the house til she had
brought herself down to nine inches high.

--Alice in Wonderland


This late April day spends its last light
on a river of milky windshields
in aggravated suburban traffic.
Where did I come from that I alone,
walking, should witness this young woman
in her absurd determination? Thirteen, perhaps,

high-waisted in blue-jeans, she stands
uneasily on silver skates--bony and awkward,
a victim of legs like a young giraffe.
A hundred lavender blossoms
cover the concrete driveway where she stands;
they accumulate over the inevitable oilstain
left by a wound in the belly of her father's Ford.

Just as I walk past she finally decides
to try the skates. Now I see one hand
clutches a bunch of the fallen blossoms.
They puff out from her fist like a handkerchief.
Stiff-kneed, she scrapes forward and bends--to
do what?--to gather more blossoms.
I won't stop and embarrass us. I look back
to see several petals fall from her grasp;
her skates choose this moment to mutiny.
Her knees knock together, she surrenders
and falls carefully forward. For an instant,

her face says, "My body makes no sense at all."
Her ritual makes no sense at all.”
Her blue sweater hikes up her back; the wind roughs up her hair
like an obnoxious brother; no doubt Daddy will be
wheeling in at five-thirty-sharp to conquer
the driveway. Grimly she begins her ascent to equilibrium,
grabbing two fist-fulls of flowers.
From almost a block away I can hear her skates scrape and sing.



hans ostrom, 1977/2014

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

What Would Bukowski Say?

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What Would Bukowski Say?


A fat man trying
to exercise in hot
sun walked past a
fat man sitting in
a fat American car
eating a hamburger
the size of a Pacific
atoll and sitting on
white cow-hide seats,
and one fat man nodded
at the other, knowing
each other's story
well, and about as
concerned with the word
"fat" as a rattlesnake
is with who will be
the new Secretary of
the Interior. And when
I saw this scene, I
thought of what Charles
Bukowski might say.The
last and only time
I saw Bukowski was
in Davis, California.
His face looked like
it had gone through
a cyclone full of rivets.
He drank a six-pack of
beer and read poetry,
pacing himself in each
task. Bukowski always
had interesting things
to say about almost
everything, including
a fat man in a car and
a fat man trying to exercise,
and anyway, I wish he
were still alive, writing.



Copyright 2009 Hans Ostrom

Earth Day Poem

Some years ago, I returned to the site of my undergraduate education (well, part of it) and my graduate one: U.C. Davis. In the years since I'd been back, the student body had doubled, from 17,000 to over 30,000, and the physical plant had grown bewilderingly large, so much so that I got lost--at a place where I'd studied and then taught for nearly a decade: how embarrassing. You can go home again; it's just that you can't find your way around.

Finally I made it to what I considered the center of campus--the quad and the coffee house. And at that point, time had stopped. For it was Earth Day (I think we used to call it Whole Earth Day), and the booths, people, music, and atmosphere all seemed the same as they were the first time I attended the gathering. Ah, I'm back at Davis, I thought.

Dogs, frisbees, herbaceous smoke, hand-made jewelry for sale, intense but friendly arguments going on, and all sorts of music, long skirts, bare feet, scarves, wild hair, and the original Good Vibes. At the perimeter, on the bike paths, herds of bicycles went by. (The bicycle-accidents at Davis sometimes involved hundreds of people. Somehow I avoided them all.)

I think the following Earth Day poem may be irreverent, but I'm not sure. The first line certainly is.


Bet On It

Sun, you bum, if you weren't close,
you'd be just any other star, one cold
fleck on a black velvet painting. Earth,
you globular oaf, if it weren't for Sun,
you'd drop down Time's abyss like a cold
marble. Moon, you sycophant, why
don't you grow something on yourself?
Humans, you fatuous, big-brained
locusts, you're killing your home by living
in it. God, You are looking more necessary
all the time--the Back-Up Plan. Some
see you as a long shot, at best. I'm with
Pascal. I'm making the wager. It's not
a lock, but it's the smart bet, especially
as we turn the place into a sauna and strand
polar bears on ice cubes. And who would
have bet, back there in the Big Bang Bar
and Grill, that Sun, Moon, Earth, and humans
would end up just so, tensely tethered
to each other? It's all impossible, of course.
Do the math. Yet here we are. Bet on it.
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Copyright 2009 Hans Ostrom

William Stafford and the Super Bowl

I wonder if poet William Stafford ever watched the Super Bowl. I doubt it. I also doubt that he believed himself to be superior to such mass entertainment. I suspect he might have simply not been interested in the game.

I've been reading his book, An Oregon Message, a book of poems published in 1987. Somehow I ended up with an autographed copy. I'm no handwriting expert, but my wild guess is that Stafford was left-handed. At any rate, he was roughly 73 years old when he published this book, and he prefaced it with this note, which I think I'll reproduce in full:

"My poems are organically grown, and it is my habit to allow language its own freedom and confidence. The results will sometimes bewilder conservative readers and hearers, especially those who try to control all emergent elements in discourse for the service of predetermined ends.

Each poem is a miracle that has been invited to happen. But these words, after they come, you look at what's there. Why these? Why not some calculated careful contenders? Because these chosen ones must survive as they were made, by the reckless impulse of a fallible but susceptible person. I must be willingly fallible in order to deserve a place in the realm where miracles happen.

Writing poems is living in that realm. Each poem is a gift, a surprise that emerges as itself and is only later subjected to order and evaluation." (page 10 of the paperback).

As always, Stafford is sly--even in this preface. "Organically grown" not only alludes to a Romantic (as in British Romantic, Wordsworth, et al. ) point of view, but also to the term "organically grown," which had become ubiquitous in American marketing of food in the 1980s. With regard to art and poetry, "organic" doesn't have the "granola" connotation many people immediately think of. It's not a "touchy-feely" term. It simply refers to the way in which a poem or another kind of art finds its form, as opposed to filling up a predetermined form like a mold. You might think of "organic" in this context as the opposite of "formulaic."

I observe with pleasure the Christian--in the broadest sense of the term--note in the preface: a poet or a person has to be willingly fallible, as opposed to willful or arrogant, to receive poems. Of course, one need not be a Christian or even necessarily a person of faith to approach art this way. One need only be receptive in a certain way. Patient.

In Stafford's view of writing, one receives the language. This point of view does not, of course, mean that whatever one receives is good. It simply means that whatever one receives, one receives--a gift to consider. Then you take a look at it. Maybe you put it in a bit more order. Maybe you evaluate it. Maybe you decide you don't quite know what to make of this gift, so you put it on a shelf for a while.

This is the kind of "theory" of creativity that most literary critics don't get because they need something either more outlandlandish and grandiose or more logical. Stafford's way is too "in between." Perhaps it's too simple.

But to think of a poem as a gift, perhaps a modest gift indeed (who knows?), is a nice way of looking at poetry. Wait for the words. They usually arrive. After they arrive, take a look at them and see what you have. It's a bit like panning for gold. And almost no one pans for gold to get rich. One pans for gold because one enjoys panning for gold.

But what really astonishes me is that, at 73, Stafford apparently still felt he had to explain himself, his way of writing. True, it's not as if he were insecure or revealed insecurity in the preface. And there's some wry humor in these paragraphs of his. (In another book, in reference to critics, he says simply, "Thanks anyway."). Nonetheless, by age 73 Stafford had produced so much interesting poetry that one would think he wouldn't need to "explain" himself. It makes me a wee bit sad that he felt that way.

I met him once, in 1974 or 1975, when he came to read at U.C. Davis. He wore a simple "dress" shirt without a tie. I liked his laconic, clear way of reading. As was the routine then, we all gathered in a small classroom in Olson Hall. Maybe there were 20 of us. Ridiculous. He deserved an audience of hundreds. But so it goes with poetry. After the reading, we gathered at Karl Shapiro's house for a reception, and I asked Stafford about imagery. Shapiro rather liked poems to be overloaded with imagery, whereas (it seemed to me, a mere youth), Stafford was a little more comfortable with conversation in his poems, even as they included fine imagery. I forget his answer to my question, which probably wasn't phrased very well. I had to leave soon after that because, of all things, I was horrifically allergic to Shapir's cat. So it goes.

But oh my goodness am I enjoying the poems in An Oregon Message, poems Stafford waited for and received.