Friday, April 15, 2011

The Idea of Aging

The Idea of Aging

We're very young when
we first know what
getting old is to mean:
that moment in childhood
when we learn not by choice
the difference between
what we just do and what
we must do.


Copyright 2011 Hans Ostrom

Bold Talk

Bold Talk



Bold talk is the best kind. It
may be why talk came to mind.
Once fitted with it, talk I mean,
we could just sit and make stuff
up, say dark is sun, sky is heaven,
lie like the skin of a chameleon--
a way to feel safer, blend in when
we seemed to ourselves to be
different from all other creatures.

Bold talk remains one of the main
features of fear, confusion, despair.
There is no end to these, and no end
to talking boldly, which represents
much but not boldness. Incrementally
grows the force of talk in all its
forms, the Earth now wrapped in
electrons saturated with our telling
and our selling: endless
effluvium of conversation.


Copyright 2011 Hans Ostrom

Wednesday, April 13, 2011

School of Poetry

School of Poetry

I was going to start a School of Poetry,
but I couldn't find a building to lease, nor
could I gather a group of destined geniuses.
A group? Not even one foreordainedly
acclaimed scribbler. So on I rode upon

a rickety nag of my own, notebooks piling
up somewhere like a slate-castle, my wee
career in poetry careening out where the
brush grows and the tourist throws an
empty bottle of beer.  I am I think

a member of a species the birders like
to call accidental. Thank God I never
started a School of Poetry. I would have
been tardy every day and distracted by
the cheerleaders for the football team,

on which I would have played free
safety, a roaming loner in search of
a concussion, scribbling dreams
between the yard-lines while ghosts
dissolved in Alka-Seltzer mists
beyond the stadium.


Copyright 2011 Hans Ostrom

Experimental Poem

My sense is that if you write an experimental poem, you probably shouldn't title it, "Experimental Poem," unless of course, in spite of being figurative, you occasionally suffer bouts of literalism. Not that you asked, but I think every poem is an experiment in writing poetry; that doesn't mean every poem is experimental, however. Which is technically a contradiction, I think, except that in the previous sentence, "experiment" refers to a process of discovery and "experimental" refers to a mode, type, or sub-genre. There should probably be a question mark after the title.



Experimental Poem

By definition, an experiment
is a former periment. A periment
is whatever you want it to be. It
sounds to me to be a part of a building,
a small amphibian, or an herb. ("Let
me draw your attention to the
periment now, if I may.") By

infinition, you who may be whoever,
especially online, may/can try whatever
you like or don't like for whatever why.
["Hello? To whom am I speaking?"]

Sure, there are courses of deep grammar,
 ingrown conventions, and local customs
that will pull your perimentation toward
silted centers of common practice. Fact is,

["it just isn't done," an editor wrote to me
once, except I'd already done it] don't
let that pulley interrupt the fermentation (which,
yes, I know is rot), the chemical re-agenting

[this is too "out there," even for me, an agent
once wrote to me] underway as you pluck
drugged strings of a rubber violin on a baking
street, your sober alter-ego/oge-retla less

than [not equal to] enthused about your rumored
genius. ("I perceive you have been in Afghanistan.")
If there is a game afoot, look in the underbrush or
between mirrored pages of a glass anthology
["in the end, I did not fall in love with it"]
sitting on a table in your mind. There should
probably be a question mark after the title and
after every statement you make when you
pass the age of, say, 40.


Copyright 2011 Hans Ostrom

Monday, April 11, 2011

"The Fall," by Russell Edson

"Beggar Woman," by Charles Reznikoff

In Vienna

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In Vienna

How the fuck did I get here? I asked myself.
Winter. Yes, yes: the opera, the history,
the goddamned magnificence. A big so what?
to all of that and more when you're thin

on money, low on rest, and loaded down
with many mistakes you made. Back "home,"
they'd elected Reagan president. That, children,
was a point of no return. Austria is

of great historical importance. Okay, fine,
but I'm hungry, I thought. So I went out,
and I went out, and I found myself a cafe,
which featured a kind of importance I

required--hot food and wine, buzz of
customers, glowing lights and cigarette
smoke, a blond woman with a wry
smile, and a sense of proportion.


Copyright 2011 Hans Ostrom

Without Acknowledged Passions

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Without Acknowledged Passions


"He was wary of solitary men, people without acknowledged passions."  --Maigret and the Calame Report, by Georges Simenon, Chapter 3.


Like any advanced mammal, they calculate,
the ones with unacknowledged passions, but
their cruelty is cooler, reptilian. If they would
but name their passions, we'd all be safer.

The won't say what they really want, so
they try to exact things from us. Always
in a hurry, bustling with short strides,
keeping careful records, they don't
get much done. Always arguing, they
never convince. And always opining,

they make us crave facts. The ones
without acknowledged passions fail
by seeming to succeed--like an avalanche.
What is wrong with them can't be made
right. Don't try. Pass by.


Copyright 2011 Hans Ostrom

Plato, Kant, Life




Plato, Kant, Life


There is no categorical
imperative or Platonic ideal.

These things do not exist.
They are that. Life is this.

More imaginative than Kant
is God, who does not want,

who makes perfect sense,
who knows the original whence.

Plato imagined he knew
what to make of this stew,

life. His notions were less than ideal.
This stew is terribly real,

not approximation, God knows.
Out of mystery, not forms, creation flows.

We and life are history,
Whereas God is  mystery.

God is neither categorical nor ideal.
God is rather formlessly real.

Copyright 2011

James Baldwin: the Price of the Ticket

Richard Wright - Black Boy