Seven Sins

We bought an HD TV quite a while ago, but we usually forget to tune in to the HD channels, a practice that a younger member of our kinship-network finds exasperating. Today, however, we tuned to the HD version of the History Channel, or one of the HC's incarnations. HC on HD. Wow. Go crazy. Party down with some documentaries.

We watched a show on the seven (deadly) sins, which I can never list completely--and this failure on my part probably gets us closer to double-digits in sin-counting. Anway, here they are.

Envy
Sloth
Gluttony
Wrath
Pride
Lust
Greed

I'm not sure, but these look more like "common traits" than "sins," but I guess they could count as both. I also think they "bleed" into one another. Envy and pride seem to do a lot of commerce, for example. Wrath and greed. Sloth and gluttony. Eat a massive turkey dinner and then go try to be non-slothful.

The program featured some neuro-scientists from U.C. Berkeley, and, as one might expect, they have been able to map brain-responses to such things as greed (a kind of addiction, at least partly) and lust. Also, the economist Robert Reich, whose approach I happen to like, noted that a sensible goal is probably not to try to eliminate greed but to channel and manage it so that (my words, not his) the greatest good may be enjoyed by the greatest number. In other words, he's not a big "free market" guy, but then again, no one else is, either, because there's no such thing as a "free" market. Somebody's always got a finger on the scale, inside information, a head start, or whatever (in my humble, not prideful, opinion).

The scientists from Berkeley did not seem to be fatalistic. They did not imply that because our brains may be hard-wired to struggle with resisting greed or getting out of a "greed cycle," we should give up on trying to reduce greed. They are suggesting, I think, that there simply is a neurological/chemical piece to what was once described soley in terms of sin, or of one person's "moral failing." Similarly, the possible connection between clinical depression and sloth seems obvious.

I was thinking of writing some poems based on the seven (deadly) sins, but I'm feeling a little slothful--I mean tired; yeah, that's the word: tired. Besides, thriller-writer Lawrence Sanders (R.I.P.) already got there before me and wrote a series of books based on the sins. And then there's the infamous film, Seven, which I think was too greedy in its need to be horrifying. The real master of the seven sins, however, was Dante, with his Divine Comedy and its circles of Hell. ("Comedy" seems like a bit of a stretch in this case.) I don't feel any envy toward Sanders, Brad Pitt, or Dante, by the way.

Interesting Post About U.S. Weapons

Following is a link to a post about a bomb the U.S. Air Force uses. The post is from the blog, "Utopia or Bust," a reincarnation of "Hyperborean."


http://utopiaorbust.wordpress.com/2009/04/17/the-last-of-the-daisy-cutters/

Friday's Prompt

We were working on love-poems--broadly defined--today in the poetry class: love poems each student had selected from an anthology and drafts of love poems students had written. About half-way through the class, I had students (who were working in pairs) select one word they especially liked in their partner's love poem, and the resulting list was as follows:

solace, marshmallows, drool, poot, bleeds, hug, appetite, adoration, theater, Yuppie, Shiva, resonates, wishies, emerged, phenylethylamine, [and] packaged.

Then I had everyone, including me, quickly draft a poem that had to use all these words. The "rules" allowed for changing the tense of a verb (hug, hugged--if indeed one was using this word in a verbal form) and for bringing in other words, as needed. This kind of quick drafting often produces remarkable results, as does starting with language and moving toward a subject, as opposed to having a subject/topic/theme/scene in mind and going in search of the language.

Obviously, some intriguing problems and opportunities arose. Who was Shiva? God/Goddess of Destruction in Hindu spirituality. We didn't have time to discuss the topic extensively, but we concluded that a) the deity may be, for lack of a better term, androgynous, although s/he is ofte represented visually in feminine terms, and that b) referring to the deity solely as one of destruction may be reductive. We acknowledged a considerable lack of knowledge, that is.

"Wishies," we discovered, was more or less a word a poet in class had invented. Phenylethylamine is a pheromone.

And we noted that the level of diction ranged from the lofty "adoration" to the colloquial, and what some might consider vulgar, "poot." In other words, we got lucky, poetically speaking.

After writing, we had the choice of sharing all or part (one line) of what we'd written aloud with the whole group. Here is, alas, what I wrote, product of my own medicine, so to speak (and feel free to take the "challenge" yourself). I could be mistaken, and often am, but I think I managed to use all the words.

[Draft-poem from Friday's Prompt]

Following the solace of a hug,

phenylethylamine bleeds into

the theater of my Yuppie brain.

Is adoration anything more than

a packaged poot of wishies? Does

Shiva drool after devouring

marshmallows? Appetite has

emerged and resonates. That's

all I know for sure.

What does one do with such a quick draft? Well, the immediate choice is to "toss" or "keep," although I advise poets never actually to toss anything. I still like Richard Hugo's idea of "stripping a poem for parts," so that you may certainly keep a draft "out back" with other "parts," but you need not actually destroy it. If you "keep," then most likely you have a lot of revising to do.

Also, the poem may simply be a marker on the path to another poem. Maybe you'll get interested in the subject of Shiva, of marshmallows, or of pheromones. Maybe one one line or phrase will stand out, and you can remove that and build a draft of another poem around that. Often, however, quick-drafting produces energetic, surprising results, some of which can lead, eventually, to good poems.

Copyright 2009 Hans Ostrom

Sleeping Seaside

Sleeping Seaside


The sea can give only so much. It shrugs
tides inland as far as possible. Then its
conscience, the moon, urges caution. What's
left behind on strands looks broken or worn.
Anyway it's exiled from origin and function:
a cracked shell, a driftwood plank.
A receding tide's a kind of regret.

Hearing the sound of surf all night erodes
the will's high bank. That's when a tide
of sleep advances. That's when you wade
in the water, child, and shrug off the day.


Copyright 2009 Hans Ostrom

Guitar

As I continue to participate as best I can in the great National Poetry Month poem-a-day roundup (cue the theme song from the ancient TV series, Rawhide), I've decided to post a guitar-poem, of sorts--meaning it is sort of a poem that's sort of about guitars.

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All Guitars

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Do you ever wonder how many people

worldwide are strumming a guitar at

the exact same instant, such as now?

Me, neither--well, except for this

one time. What if we could hear

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this simultaneous strumming's

combined sound? It would be

like a guitar-hurricane hitting

the coast of our listening. We'd

have to got to a shelter

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while the guitar-storm roared

overhead. How many strummers

strum at once? Estimating this number

creates a complex chord in the head,

a gnot of notes compelled to get along.

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Copyright 2009 Hans Ostrom

Fine Poem By Ms. Cugno

I feel compelled to share a link to a post (which includes a poem) by musingsinflux, also known as island musings, and also known as ms.-cugno-to-some:

http://kcugno.blogspot.com/2009/04/bit-o-fire.html

Deliveries

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In our small town, there was a guy named Harold Hallman who hauled freight for a living, but he didn't change his name to Haulman. He drove 3-plus hours down the mountains to Sacramento, got the stuff, and drove 3-plus hours back, delivering bread, milk, meat, etc., to the grocery store but also delivering stuff to indivuals in town.

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For example, my parents had Harold deliver milk and ice cream for a while. The only ice-cream he ever delivered was Maple Nut because that was the flavor my father liked. --Not a democracy, in case you were wondering. The ice cream came in a huge tub, which I guess held 5 gallons. Maybe ten. All the stuff came in boxes made of hardwood and metal. I think the Crystal Dairy Company in Sacramento owned them, and Harold was affiliated with it.

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At any rate, my father kept some of those boxes, which he flipped over (metal bottom on top) and put in the back of his pickup when he had too many passengers than could fit in the cab. I believe this sort of practice is illegal now, as it should be, especially in late Fall in the Sierra Nevada (when al fresco transportation is not enjoyable), but also because of the whole seat-belt thing, etc. Sometimes there were several of us back there with hounds because my father wanted to drive around looking for deer after work, towards dusk, when the weather was even more lovely.

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Rarely did we see a deer that he might shoot, I presume because the deer were at home with their feet up, reading the newspaper. Nor did we really want him to see a deer and to shoot it--for we were cold and selfish and did not wish the evening to be extended any further.

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A very classy image comes to mind: a family and its dogs riding around mountain roads. The dogs had their noses in the air.

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I'm sure my father asked Harold's permission to keep those unusually durable boxes, but it never occurred to me to ask. The strange boxes were simply part of the landscape immediately around our house. One of my brothers worked for Harold for a while, loading and unloading freight.

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Deliveries

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The time has always come

somewhere, I suppose, for

who knows what. To whomever

time has come, the what usually

becomes clear on delivery. Time

delivers the goods and the bads.

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It's the biggest shipping company,

with offices in every moment and

deliveries to any place. You look

into a moment, see the package,

open it, and say, "Hey, look what

time delivered. I don't really

remember ordering that."

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Copyright 2009 Hans Ostrom

Talk-Radio

Paradoxically (or so it seems), I listen to "talk-radio" regularly but not a lot. My commute to work is so brief that it hardly qualifies as a commute: 8 minutes.

To save even more fuel, I drive at the speed-limit, and if I'm absolutely sure no one is behind me, I've been known to drive below the speed-limit, partly because I like to take the idea of "limit" literally. One is limited to 25 miles per hour (for example); one is not obliged to drive that fast. However, whenever there is a car behind me, I don't care to test the extent to which that other driver shares my theory of speed-limits. I assume he or she has places to go quickly, people to see soon, and at least the potential for exhibiting road-rage.

So for a few minutes, I listen to talk-radio: Air America, sports-talk, conservative-talk, pretty much in that order. I don't ever listen to Rush Limbaugh, but I've listened to such lesser conservative lights as Michael Medved and Mark Levin.

Rush, I gather, has something like 20 million listeners--or about 8 per cent of the U.S. population. That's a lot. I don't know how many listeners these other fellows have, but to hang to their audiences, they seem to feel the need to get more outlandish all the time since Obama defeated McCain. Medved referred to Obama's foreign policy as "insane." It may, but how does it differ radically from Bush's (Medved advanced no argument at the time).

True, Obama is behaving more conventionally as a president; for example, he does not give prime ministers uninvited back-rubs in public. Also, he wants to remove a lot of troops from Iraq, but so does the military, which is exhausted. I'm not aware of any massive policy-shifts that might account for a sharp contrast, especially one in which Obama's side of the contrast would be "insane" to Bush's "sane." Oh, well.

Of course, some talk-show hosts on the alleged Left are merely mirror-caricatures of those on the Right. Rachel Maddow, Thom Hartman, and Ed Schultz are exceptions. Their tone is more moderate and thoughtful, and they not only take calls from people who disagree with them (and treat the people respectfully), but they also regularly schedule guests who disagree with them. This practice is refreshing. As far as I know, Rush takes no calls now, certainly takes no opposing calls, and never schedules guests that would disagree with him. At least that's what I've heard about his "format." I could be wrong and often am.

Talk Radio

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She "called in" to talk to a talk-show, radio.

A screener screened her call. She held the

phone to her left ear while her call to the

call-in show was held in a queue. Finally she

found herself talking to the talk-show host,

who behaved inhospitably and with hostility,

and who'd abandoned listening long ago in

exchange for talking. She opined briefly,

sensibly, and cordially. He interrupted,

opened the bays of his word-bomber,

and dropped a rant on her for the benefit

of his loyal listeners lying in their bunkered

opinions with flashlights and non-perishable

items. After the unpleasant, anti-conversational

experience talking to a talk-show host, she

tuned to the station no longer.

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Copyright 2009 Hans Ostrom

New Book About Langston Hughes

(image: Langston Hughes, 1902-1967)

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If you have any interest in the life and/or work of Langston Hughes, you will likely want to take look at a new collection of essays about both: Montage of a Dream: The Art and Life of Langston Hughes, edited by John Edgar Tidwell and Cheryl R. Ragar.

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Hughes remains one of the most widely read American writers, and he's read by a wide spectrum of people: critics, scholars, middle-schoolers, high-school students, librarians, college students, people not associated with schools, and so on. He is, for example, among the most popular poets on poemhunter.com, which tends to get visited by people who simply like to read poetry. The accessibility of his work, like that of Frost's and Williams's, helps, but so does his indefatigable concern for the lives and circumstances of working people.

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He wrote more than poetry, as essays in this new book remind us: a novel or two; short stories (including the classic collection, The Ways of White Folks, still in print); essays; works for children and young adults; plays; opera libretti; journalism; and criticism).

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Immodesty induces me to mention that I've written two books on Hughes: Langston Hughes: A Study of the Short Fiction and A Langston Hughes Encyclopedia (although let the record show that 8 of the entries in the latter work were contributed by others). His work seems to have survived my books just fine, however. Hughes is resilient that way.

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I also teach his poetry and short fiction (and one essay) regularly in a course on the Harlem Renaissance. Another scholar and I have a friendly running "argument" about which of Hughes's short stories is the best one. He gives the honor to "Father and Son." I have given the honor to "On the Road," but more recently I'm leaning toward "The Blues I'm Playing."

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Both because of the relative clarity and simplicity of his work (especially compared to that of Eliot and Pound, for instance) and because of his steadfast interest in labor-politics, socialist thought, and civil rights, Hughes has not always been held in high esteem by academics, so books like this new one, which broaden and deepen an understanding of this work, are welcome. At the same time, Hughes can take care of himself. People read his work. They just do. Comparisons to Frost and Williams obtain, as do ones to Dickinson, Neruda, Rumi, and Yevtushenko (to name but a few consistently and widely read poets).

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The book is from the University of Missouri Press, which also published Hughes's complete works.

Writing Centers and Creativity

If you work in a college (or high school) writing center, know someone who does, or refer students to writing centers, you may want a) to have your library order the following book [or purchase the book yourself], b) read the book, and/or c) tell others about it:

Creative Approaches to Writing Center Work, edited by Kevin Dvorak and Shanti Bruce. New Jersey: Hampton Press, 2008.

I was in on the beginnings of two writing centers, one at U.C. Davis and one where I teach now, so I have a certain fondness for writing centers in theory and practice, and I refer students to the one here all the time. Sometimes writing centers get exclusively (and falsely) associated with remedial writing and/or with narrowly defined academic writing. In fact, writers with basic compositional things to work on and writers working on traditional papers can indeed find assistance at writing centers, but they can also find help with poetry, fiction, and creative nonfiction. How to work with such writing is one topic this book addresses--among many others.

Abandoned Gold Mine

(image: gold-miners in Colorado)

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Abandoned Gold Mine

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In the mine, looking at gray

mud-and-stone leaking water,

you realize the folly of digging

a hole in a mountain and hoping

the hole will suspend the mountain

above you. You look at rusted

iron tracks and the one ore-core

no one stole yet. This is a morose,

dank space--an intrusion, a bad idea,

but, Oh Lord, a product of long hard

labor. In the mine, you see evidence

of work, engineering, zeal, folly, ingenuity,

and mystery. You, too, want to stay

longer than you should--imagining;

listening to granite, diorite, and quartz

mutter. What you don't see is evidence

of wealth, which was created by what

was extracted but not for ones who

extracted. The air you breathe is bad.

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Copyright 2009 Hans Ostrom

El Greco's "Christ on the Cross"

I visited the Getty Museum in L.A. recently. As you no doubt already know, it's a renowned and controversial museum. --Renowned for the sheer volume of art it owns, much of it from uniformly famous European artists. --Controversial because it is a massive museum on a hill overlooking Hollywood and Santa Monica, as much a visual testament to one capitalist's ego as Hearst Castle is.

Also, a lot of curators think J. Paul Getty just bought indiscriminately and/or bought (sometimes) because the price was right. He would also do things like sell a painting, wait for its price to drop (because of the market), and buy it back.

Nonetheless, Getty was a lifelong, dedicated collector who assiduously kept notes on art he liked. He'd earned a a degree at Oxford (after attending USC and Berkeley)--in political science, I think--so with regard to art he was pretty much an autodidact. His money came, at first, from Oklahoma oil. His father was an investor.

The good news about the Getty is that J. Paul left SO much money in trust that it generates vast amounts of capital and makes the museum free to the public. So enormous numbers of people get to look at extraordinary art for free. Whether this free availability of art is achieved through the Getty way or through public financing, I like it. It's the way things should work. Also, the other end of the spectrum--art that's just emerging, art from artists now--needs support, not just the old stuff that people agree is "great."

Looking at Van Gogh's painting of irises (for example) does take the breath away for a moment. More importantly, it makes the painting human again. You see those brush-strokes, quirky and authoritative, made by one guy at a moment in time.

Getty also collected antiquities, manuscripts, and decorative art. He was obviously compulsive. --And Euro-centric--although his collection of early American photographs is astounding, too.

Anyway, the first visit to the Getty is likely to produce . . . gallery fatigue. So much. Too much. Thus, I bought the catalogue. It's not the same as looking at the paintings "in person," but it's a good fall-back position, and a good thing to look at just before you fall asleep. Both cookbooks and art books (ones that aren't heavy) are good pre-snooze reading, in my opinion.

Anyway, I decided to write a poem about El Greco's painting, Christ on the Cross, a painting I like very much, and one the Getty owns. I wasn't able to see it on my visit. Who knows? It could be in storage.

El Greco's Christ on the Cross

In El Greco's Christ on the Cross, earth
rolls up into sky, which looks like sea--
and it's all one blue-black mass
behind the hanging man who said
his reign was not of this shifty world.

El Greco's Jesus, stuck at the center
foreground, isn't handsome, looks up
exhausted, is almost out of here. A
city's suggested beyond and beneath
the nailed feet. It's no city you'd want
to enter. Between the small mound
of bones and limp urban spires, small
men ride tiny white horses. There's

a flag, of course--a standard, which
the painting's enormous blue note
blows away like a dry leaf. Horses
and men seem headed into a lifeless,
lightless cave or copse. Without
a doubt, the flag suggested power
to occupied and occupiers both back then,
as flags often do. El Greco's study's
an indelicate bruise of black-and blue.


Copyright 2009 Hans Ostrom

Three Bridges

In the following poem, which in part concerns bridges, I use the word doppelganger, the fine German word for "[the] double," as in Jeckyll/Hyde, except the a which spans the space between g and n is supposed to have an umlaut, those two dots. The Blogger menu doesn't seem to include its own drop-down insert-symbol menu, so I attempted to import the word (via cut and paste) with the umlaut, but it was refused.

The word was stopped at the border by Customs guards. There must be some kind of tariff on umlauts or something. I didn't want to surrender doppelganger, so I went with the hideous approximation, doppelgaenger. I think this is what's known as a trivial problem.

When I studied German, I was told that, to create the umlaut-a sound, one should should say "a" while lifting the tongue as if one were saying "e," and it seems to work, generating the proper blend of a and e. Of course, even when I seemed to get it right, I didn't sound like a German, just close enough for linguistic horse-shoes.

Incidentally, some people refer to the wrecked Tacoma Narrows Bridge as Galloping Gertie. I just thought I'd mention that.





Three Bridges


You select one item from a mail-order
catalogue. The company sends two
in error. You open the package and feel
delighted, confused, and disappointed
all at once. You may feel similarly

looking at the redundancy of two
parallel suspension-bridges that
now span the Narrows next to
Tacoma. The second Tacoma Narrows

Bridge is the third, the first one lying
now under water, which is, for bridges,
Hell not baptism. Wind that killed
the first bridge plays the new bridges
like harps. Octopi strum the wreckage
of the old bridge in strong cold currents.

You may feel as if two bridges together
are one bridge too many, a failed
engineering success, a planned excess,
a doppelgaenger of spans.


Copyright 2009 Hans Ostrom