Dublin Perambulation

Parnell's Protestant, pugnacious statue
directs foot traffic, which today
is syrupy slow and sweet, a mix
of Kerry green and Dublin blue
on the big day of Gaelic football
championships match: "All

amateur, mind you, and good
for the family," says everyone
we've listened to about the matter.

On wide O'Connell Street,
buskers and beggars attract
brassy coins like bees
in the names of art and pity.

Then here comes the autumn
breeze, as fresh as, well,
I don't know what, but
it's hauling ass down the street.

And here comes a casino,
"Dr. Quigley's Goodtimes Emporium,"
how droll, how not-Las-Vegas.
Skulking, big, and befuddled,
I buy braided strands of cerulean
wool yarn and declare ritual
loyalty to the Boys in Blue."

But really I'm thinking of the
main fortress in town. It is
circular, and it's a library.
Two great ideas married.

My hip aches like history's teeth,
and although I appreciate Yeats
and Joyce, Lady Gregory
and Eavan Boland, and 1916,
and the troubles, and wit, I just want
some brown bread and jam..

Anxious shrieking seagulls
in St. Stephen's Green seem
to agree with me. Dublin's
and easy city, if--as with all
cities--you have a bit of money.
The swan I see in the big
pond came from Coole,
that's a lie, and I'm hungry.


hans ostrom 2019

"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 Magi," by William Butler Yeats

"The Sorrow of Love," by W.B. Yeats

Getting Old: An Introduction

You'll admit you always had the illusion
you were almost hip, sort of with-it, and
you'll admit that you never were and that
you're now completely out of step. Bones

and muscles will ache as easily as they used
not to. To the extent you had personal enemies,
they'll either be dead now or seem
ludicrous--like you.  Hair

will have grown in places you hadn't
imagined hair could grow, as in  for example
the inside of your ears. By turns, you'll want
to cry out "Leave me alone!" and "Please

notice me!" If the young notice you,
they'll look through you. Lust won't leave
you. It will just badger you and make
you seem creepy. In fact, this is a country

for old men and women.  The problem
is simply that age doesn't earn you anything
special, and pneumonia's always
out there, waiting like a burglar,

and nobody cares what you know.


Copyright 2012 Hans Ostrom

Bird Poems

Like love, death, and sunsets, birds seem to almost every poet to require yet one more poem. And like love, death, and sunsets, birds tempt the unsuspecting poet to write something sentimental, or to personify birds, as I just did when I wrote “birds tempt.” Actually, of course, poets tempt themselves to write sentimentally about birds, who have more important things to consider than poets. As with the rest of poetry and the subjects of poetry, a chief rule for bird poems is this: there are no rules. However, before writing a bird-poem, a poet might want to do what a bird-watcher does: observe; and then observe some more. That is, as long as the poet doesn’t rush to the writing with stock images of and prefabricated ideas about the bird in question, things should go all right.

The ultra-famous bird-poems include, of course, Poe’s “The Raven,” Coleridge’s Rime of the Ancient Mariner, Stevens’ “13 Ways of Looking at a Blackbird,” and Hopkins’ “The Windhover.”

Over the years, I’ve noticed that a fair percentage of students react negatively to “The Windhover,” partly because Hopkins’ sprung rhythm and heavy alliteration create some difficulty, but also perhaps because of the epigraph, “To Christ Our Lord.” Obviously, the poem does have its religious dimensions, but mainly it’s about that hawk up there, gliding, pausing, diving. It's also about the explosiveness of language itself. Even when I was only 17, I took easily to this poem and Hopkins’ work, for some reason. I think I simply sensed that Hopkins was doing in verse what jazz musicians do in music, and so I just found myself enjoying everything he was doing with words and lines, stresses and alliteration. It was pleasurable to me, even on the first reading. I also liked what he was doing with the hawk in the poem. I felt he really was trying to see the bird and to help us see the bird as the bird is. So although I don't try to argue students out of their resistance to the poem, I don't entirely understand the resistance.

Other fine bird poems include William Everson’s “Canticle of the Water Birds,” which I heard/saw Everson read several times; Robinson Jeffers’ “Hurt Hawks"; Emily Dickinson’s poem about the sparrow and the twig; and Ted Hughes’s book-length work, Crow. Dickinson also has the one that begins “A bird came down my walk.”

Karl Shapiro wrote an interesting poem in which he depicted a bird counter-intuitively in terms of a mechanism, a machine, and he wrote another one about having been attacked by a crow in Chicago. They’re both in his Collected Poems from Random House, published in the late 1970s.

At the risk of committing literary heresy, I'll admit that I believe Yeats's "Leda and the Swan" to be a hugely over-rated poem--and a problematic one, insofar as it glorifies rape, but also insofar as it's a bit silly. I know geese and swans can get mean, hiss, and bite, but if one really attacked a woman like Leda, I think Leda would simply wring its neck or kick it. The whole scene has always seemed a bit unintentionally comic to me. If Zeus appeared in the form of a lion, that would we one thing--but appearing as a large bird, but not even an eagle or a vulture? I mean, really. And finally, the question, "Did she put on his knowledge with his power?" seems not terribly pressing, and I've always wanted to answer, "Who cares? The woman was raped by a bird!" A more basic question might be, "Can a swan really have sex with a human?" Or: "Who does this lousy bird think he is--Zeus?!" It's one of those myths that I wouldn't mind a parodist like Mel Brooks retelling on film. . . .

. . . . In an homage to Dickinson, whom I regard as one of the great literary observers of nature, I played off “A bird came down my walk”:

Homage to Emily Dickinson

A bird came up

My mental walk.

It pinched a Dickinson

Scholar in half.

In my scrappy hometown,

I knew weirdos like you,

Liked them. They

Lived their lives,

And just their lives.

How rare that is

I began to know

Even at age six.

Your poems are prim

Graffiti scratched

On the back of Piety’s pew.

Good old you.

Your poems know more

Than ever they let on,

Were postcards sent

From privacy, anon.

© 2007

I also wrote a poem not just about a wren--but a Bewick’s wren (now that's specialization):

Wren

A Bewick’s wren landed on a fence-rail,

presented its image to my surprised view.

All of natural history had contributed

to this bird’s mere form, gray-brown

finish, up-slashed tail, and quick

departure into an atmosphere that is

no longer visible to us. When I saw

a Bewick’s wren today, I sensed

spirits nearby smiling wryly

at my mere thimbleful of awe.

© 2007

And here’s a link to “An E-Anthology of Avian Poems”:

http://birding.about.com/gi/dynamic/offsite.htm?zi=1/XJ/Ya&sdn=birding&cdn=hobbies&tm=6&f=00&su=p445.92.150.ip_&tt=14&bt=1&bts=1&zu=http%3A//www.usd.edu/%7Etgannon/bird3.html

Happy birding.