Skaters Captured

I'll continue my intermittent posting of Imagists' poems with one by John Gould Fletcher (1886-1950):

The Skaters

by John Gould Fletcher

BLACK swallows swooping or gliding
In a flurry of entangled loops and curves,
The skaters skim over the frozen river.
And the grinding click of their skates as they impinge upon the surface
Is like the brushing together of thin wing-tips of silver.

(The word "surface" belongs at the end of the fourth line in this five-line poem.) This poem embodies the Imagists' dicta of treating "the thing" (usually something experienced through the senses, not a concept like "love") directly, writing sparely, and not being obligated to use conventional verse-forms or even previously common verse-techniques like rhyming. Although the Imagists often didn't rhyme or write in verse-forms like the sonnet or the ballad, they still paid great attention to language and the sounds of words, as this poem shows. "[T]he grinding click" seems like the perfect way to describe the sound of skates on ice. Maybe, like me, you think of Gerard Manley Hopkins' "The Windhover," in which Hopkins compares a hawk's flight to skating, just as here Fletcher compares the skaters to swallows in flight, and there certainly is a sense in which swallows, perhaps even more than hawks, skate on the air.

Lorine Niedecker: Nothing Personal

I just ran across a curious, humorous poem by Lorine Niedecker (1903-1970), a native of Wisconsin and a poet often grouped with William Carlos Williams and Hilda Doolittle because of her spare rhetoric and imagery. Here is the poem:

My Friend Tree

by Lorine Niedecker


My friend tree

I sawed you down

but I must attend

an older friend

the sun.


from The Academy of American Poets site: http://www.poets.org/poet.php/prmPID/729

When we see the title, "My Friend Tree," we're likely to dread reading the poem because we assume it will feature sentimental personification of the tree. Well, in this one we get the personification, but it's nothing personal; it's just business: the tree has to come down, presumably to let some light in. The phrasing is child-like in its simplicity and funny because of how the speaker breaks the news to the tree, after it's been sawed down. Niedecker's background was working-class, I gather, and she lived for a long time on an island in Wisconsin, so I can envisage her sawing down a tree.

Mary Ann Wishes For Rose-Rain

I was talking with a colleague who is teaching a course that includes the great Victorian novel, Middlemarch, by George Eliot, pen name of Mary Ann Evans. We were observing that many passages in the novel are poetic because the phrasing is so superb, heightened without going over the top. Here is a little poem by George Eliot:

ROSES

You love the roses - so do I. I wish
The sky would rain down roses, as they rain
From off the shaken bush. Why will it not?
Then all the valley would be pink and white
And soft to tread on. They would fall as light
As feathers, smelling sweet; and it would be
Like sleeping and like waking, all at once!

George Eliot [Mary Ann Evans] 1819-1880

I find much to like in this little blank-verse poem. The speaker addresses "You" and even mentions that this "You" loves roses. But by the end of line one, the poem has turned permanently to what the speaker loves, wishes for, and imagines. What a great surprise. We think the poem is going to be "to" and "about" this "You," but it's not. The poem seems to be literally about rose-rain and figuratively about wishing for something you know won't happen but enjoying the wishing just the same. Comparing roses or rose-petals to sweet-smelling feather is good, too, even if "light as feathers" is and probably already was a cliche.

Interim Report

"Interim" is a good word. It sounds nice, for one thing, and it starts with a stressed syllable. It would be a good word with which to start a poem in that most difficult (for poets writing in English) meter, dactylic, in which each three-syllable unit must begin with a stressed syllable and end with two unstressed syllables. Unless I'm mistaken, Longfellow's poem Hiawatha is composed in dactylic meter.

I believe interim was lifted directly from Latin, and a few hundred years ago, one might say, "Interim, I'll get a new horse," meaning "In the meantime, I'll get new horse." So one was simply mixing two languages, Latin and English. I guess we do that sometimes now when we say something like, "See you manana,"and I'm sorry I don't know how to get that mark over the first n.

Later, interim became a noun:

1579-80 NORTH Plutarch (1676) 918 The Wars that fell out in the interim were a hindrance.

This is from the OED online. Here interim means what it means now--a period in between two other periods. And that's an interesting sentence translated from Plutarch, by the way: very understated and very British (even though it's not originally British): wars were "a hindrance." I'll say!

Nowadays you hear or read interim used as an adjective. "She was appointed interim director of the zoo."

Here is an "interim report" in the form of a poem:

Interim Report

Most of my memories—
good, bad, mixed—
concern instances and means
of trying to cope.

Nostalgia is largely lost
on me. Because the world
is none of my doing—nor
should it be—I’ve tried

to get by, discern terrain,
keep two eyes on those
in power, survive humanity
and nature. All this takes up

most of my time, thus most
of my memories.
How has it been so
far for you?

Copyright 2007 Hans Ostrom

A November Poem by Joseph Seamon Cotter, Sr.

Joseph Seamon Cotter, Sr., was a pioneering African American poet whose life and work bridged the era of slavery (he was born in 1861) and the era in which modern African American literature flourished in the Harlem Renaissance and continued to grow in the decades ahead (he died in 1949, preceded in death by his son, Joseph Jr., also a poet). I enjoy Cotter Sr.'s poem about November very much and post it here as we find ourselves in that month again:

November

by Joseph Seamon Cotter, Sr.

Old November, sere and brown,
Clothes the country, haunts the town,
Sheds its cloak of withered leaves,
Brings its sighing, soughing breeze.
Prophet of the dying year,
Builder of its funeral bier,
Bring your message here to men;
Sound it forth that they may ken
What of Life and what of Death
Linger on your frosty breath.
Let men know to you are given
Days of thanks to God in heaven;
Thanks for things which we deem best,
Thanks, O God, for all the rest
That have taught us—(trouble, strife,
Bring through Death a larger life)—
Death of our base self and fear—
(Even as the dying year,
Though through cold and frost, shall bring
Forth a new and glorious spring)—
Shall shed over us the sway
Of a new and brighter day,
With Hope, Faith and Love alway.

The first four lines read so well that they are a poem within a poem.

Country and Western Song

My father's day-job was carpentry and stone-masonry, but for several years he took a second job as a bartender. My uncle owned the bar, The Buckhorn in Sierra City, California, and it had a juke box that played 78 rpm records. My father brought home some of the records that were removed to make way for new ones. So I grew up listening to "Folsom Prison Blues" and "Big River" by Johnny Cash, "North to Alaska" by Johnny Horton, and songs by Kitty Wells, Eddie Arnold, the Sons of the Pioneers, and many others.

I think FPB is still my favorite country song. I also like Hank Penny's "Bloodshot Eyes," Patsy Cline's "Crazy," Marty Robbins' "El Paso," and different renditions of "Ghost Riders in the Sky." "Honky Tonk Angel" is pretty good, too. I can't stand most contemporary C & W. It's just corporate pablum, awful stuff. That's why Johnny Cash loathed the Nashville establishment.

Country and western lyrics are extremely difficult to write, perhaps most especially for poets, because they require such simplicity, more simplicity than is in what poets think of as their simplest poems. Of course, they have to have a sense of the common folk, too. In this respect, they're like the blues.

Obviously, I'm claiming that they're difficult to write because I've written some, and they're not very good. Oh, well. I think I hear the train a-coming, so here are the lyrics (and I did manage to sneak in the word "cash"):

I Hate My Job

Verse 1:

My boss’s head is bigger than his backside.
His backside is bigger than his car.
What I need costs more than what I make.
My paycheck goes a mile less than far.

Chorus:

I hate my job.
I can’t stand it.
But I need the cash.
So I can’t quit.

I hate my job.
But I can’t quit.
Gotta feed my family.
And that’s just it.

Verse 2:

Where I work the higher-ups
Are dumber than the dirt.
They pay me only what they want,
But never what I’m worth.

Chorus.

Bridge:

Working men and working women:
They make this country go.
But the way that we get treated
Is dirty, mean, and low.

Verse 3:

I get up and go to work each day.
But I’ve forgotten why.
If I don’t get a day off soon,
I might fall down and die.

Chorus.

Copyright Hans Ostrom 2007

Faux Fall Rant

One of the great "rant" poems in American literature announces itself, with its title, as a rant-poem: Allen Ginsberg's Howl, which harnesses the power of counter-cultural, anti-Establishiment outrage to a kind of Old Testament prophetic oratory. Amiri Baraka's "A New Reality Is Better Than a New Movie" (1972) is a durable poem in this "genre," too. Langston Hughes, who is not customarily associated with "rant" poems, actually wrote many of them, especially in the 1930s. They were often connected to labor-issues and to opposing imperialism and racism.

Faux rants are an interesting form of expression, too. The ones politicians, shock-jocks, and talk-show hosts go on are frequently too predictable, fallacious, and grotesque to enjoy. I much prefer the ones delivered by the real professionals, stand-up comedians. Don Rickles had a good "rant" act, but the part where he insulted people in the audience or on the set made me uncomfortable. Lewis Black has perfected the faux rant or "angry act." He never attacks anybody in the audience, and he peforms a clever, cathartic outrage directed at things going wrong in the culture-at-large. When he's not doing the act and (for example) just being interviewed, he's quite reserved, generous, unpretentious, and smart.

Here's a faux-rant against Autumn. One problem Autumn poses for poets is that it's Autumn and not just Fall. Another problem is that at least 5 billion poems have been written about Autumn, most of them including images of leaves, of course.

Like everybody else, I rather like Fall, so the poem is obviously a schtick, and it masks the real frustration, which almost all poets feel when they sit down (or stand up) to write an Autumn poem. So to all those fans of Autumn out there: remember that this is a faux rant.

Against Autumn

I don't like Autumn or Fall, and nobody even knows
what "Autumn" means. Enough with the colorful leaves already!
They're dead. That's why they fell, not because they're colorful
or symbolize anything, okay? Scientists should turn deciduous
trees and shrubs into evergreens--or ever-oranges or ever-
browns. Even ever-pinks would be fine, as long as the leaves
stayed glued to branches. Fall is a tedious road
from Summer to Winter. It's loaded with work
and school, and there's almost no place to pull over
and rest. Its holidays--Halloween and Thanksgiving--
have become ludicrous, taken over by the sugar
industry, the Hollywood horror-sequel factory,
Pilgrim coloring-books, stupid TV decorating-shows,
turkeys on steroids, and dysfunctional airports.
People shoot lots of animals,
and sometimes each other, in Autumn, out there on
private hunting-ranches and in groomed forests.
How would you like to be a pheasant, a deer,
a duck, a quail, or the Vice President's friend
in Autumn, huh? Concussions occur in football
games on Autumn's Fridays, Saturdays, and Sundays.
This is a fact. In fact, the n would fall like a dead leaf off
autumn if it weren't for the word autumnal, so
couldn't we get used to saying awtoomal or
awtoomistic or even fallish (but not fallic)?!
I'm sick of the silent n in Autumn, and I've
had it with Fall. Harvests don't happen
in Autumn anymore anyway. I see squash, spuds,
and apples in the store year-round. This
is called proof. So I say
Shut it down! Shut down autumn! Winter,
Spring, and Summer would each stretch more than
a week longer, and how could anybody
be opposed to that? I oppose Autumn.

Copyright 2007 Hans Ostrom

Amy Lowell; Taxi; Metro

Along with H.D. (Hilda Doolittle), Richard Aldington, and Ezra Pound, Massachusetts native Amy Lowell was an important Imagist poet in the early decades of the 20th century. Here is a poem by her about a taxi-cab:

The Taxi

by Amy Lowell

When I go away from you
The world beats dead
Like a slackened drum.
I call out for you against the jutted stars
And shout into the ridges of the wind.
Streets coming fast,
One after the other,
Wedge you away from me,
And the lamps of the city prick my eyes
So that I can no longer see your face.
Why should I leave you,
To wound myself upon the sharp edges of the night?


As one might expect from a working Imagist, the images are sharp, and they hold one's interest, but to my mind the most compelling feature of the poem is the speaker's relationship to the taxi. In one sense the taxi is personified ("you"), but in another it remains just a taxi. A variety of urban elements constitute barriers between the speaker and the taxi, and although we often have negative associations with taxi-cabs, one can also see how a cab might become a symbol of security. And so, suddenly, the speaker seems to be in the taxi at the end of the poem, and what has come before seems to have been speculation about how difficult life would be if he or she to leave the taxi. I enjoy how the last two lines induce us to reinterpret the lines we just read; the speaker seems to have been in the cab all along. It's a deceptively complex poem.

Here's a wee transportation-poem that's not especially complex, deceptively or otherwise:

For Metro Riders

Behind the smudged
window of a ticket-booth,
an angel evaluated your
sincerity. Now rhythms
of a city owned by noise sooth your
innermost ears. You must have
nodded off. You’re in
the right place on the right
line but after all must
still discover where you
are as you are, going.

Hans Ostrom

Copyright 2007 Hans Ostrom

Josephine Miles; Family

Here's a splendid poem by Josephine Miles. It's always reminded me of Stevie Smith's poem, "Not Waving But Drowning," but it's a bit less bleak. Miles (1911-1985) taught for a long time at U.C. Berkeley. Rheumatoid arthritis physically disabled her considerably. I heard/saw her read at U.C. Davis in the late 1970s, and an assistant had to carry her into and out of rooms. She gave a great reading. Her poems are droll and intelligent. The poem (from the Poetry Foundation website, so I think it's okay to post it), which my friend, and former classmate at U.C. Davis, likes very much:

Family

by Josephine Miles

When you swim in the surf off Seal Rocks, and your family

Sits in the sand

Eating potato salad, and the undertow

Comes which takes you out away down

To loss of breath loss of play and the power of play

Holler, say

Help, help, help. Hello, they will say,

Come back here for some potato salad.

It is then that a seventeen-year-old cub

Cruising in a helicopter from Antigua,

A jackstraw expert speaking only Swedish

And remote from this area as a camel, says

Look down there, there is somebody drowning.

And it is you. You say, yes, yes,

And he throws you a line.

This is what is called the brotherhood of man.

* * * * * *

Here's a different kind of poem about family:

Family Legends, Small and True

by Hans Ostrom

Thomas, my father’s uncle, fist-fought
my father’s grandfather—yes, it was quite
a tangle of relations, a knuckle-riot.
This happened during the first course
of the family’s Christmas banquet in
the tall white clapboard house on a hill
in a gold-mining town, California.

They fought beside a long table. They
did not take the fight outside. Each knocked
the other down. Dining resumed. This
happened in the Ago all families, yours and
mine, occupy—that vast astral soup of time.

One day Thomas merely left and was not;
and was not heard; and was not heard from
again, ever. No news of him since: that
is a species of immortality—everlasting,
immutable Disappearance. Thomas will
never amount; he will never amount to
anything except a fistfight and a dis-
appearance and these words, which Thomas,
after a fashion writes, letting me

hear from him now that the others are all
gone, and dessert and coffee, brandy and
cigars are served, and a piece of raw, cold
steak is applied to his bruised face, and
filial hatred glows like a kerosene lamp.

Copyright 2007 Hans Ostrom

On Halloween, A Review of the "Holidays"

Since today is Halloween, I thought I'd briefly review some of the "holidays" (using the term loosely, in some cases). I'll start with my least favorite first and work toward the one I like the best; it happens to be the best one for poets, too, in my opinion. Here we go--and don't take offense; if you really like a holiday that I don't, more power to you, and may you write or read a great poem about it:

1. I don’t like the Fourth of July. I know: not liking the Fourth of July is un-American. This kind of thing could have gotten me hauled before a Congressional committee in the 1950s--maybe today, too--who knows? I have two main reasons. I don’t like the interminable noise of fireworks and how such noise terrorizes animals (and there's the problem with fires, too). And if I were inclined to celebrate “the birth” of the U.S., I would probably do it in a more cerebral (and, I admit, boring) way—by meditating on the Constitution and its origins, for example.

2. New Year’s Eve. I used to like this “holiday” a lot, but now I dislike forcing myself to stay awake until midnight, so this is strictly age- and life-style related. I also worry very much about all the drunk-drivers out there, although I do everything I can to stay off the roads. At the same time, there’s really not much pressure to celebrate, so it’s all good, I guess. The Times Square thing was always bizarre for West Coast people because it was tape-recorded.

3. Christmas. I’m ambivalent about this holiday. I rather like a light-oriented celebration in Winter, and the Swedes especially emphasize this part. I also appreciate the celebration of The Birth, just as I appreciate other religious holy days or periods of observance that occur during the same time of year. The shopping part is way out of control; it’s really turned into a kind of national madness. A relatively new Catholic, I tend to like the masses that occur throughout the year, and I like the meditative quiet that “surrounds,” so to speak, a mass. So I did not take immediately to the Christmas-masses, and I learned that many Catholics attend mass only at Christmas and Easter. At the same time, it is pretty cool to see all the children at the mass, and I’ve gotten used to the noise. One simply has to understand and accept that it’s a different kind of mass. I very much enjoy other people opening gifts, as long as they rather like the gift. I enjoy opening gifts, especially if they’re books, of course. Our family has a very eclectic, eccentric collection of tree-ornaments, so there is great quirky pleasure in hauling those out every year. I’m actually in favor of the plastic trees, not just for environmental reasons but because they’re so wonderfully tacky. I haven't been able to convince my family yet, though. My favorite songs are “Go Tell It On the Mountain” and “Mary’s Boy Child,” a Jamaican song. I think the best version is by none other than. . . Vanessa Williams.

4. Thanksgiving. Thanksgiving’s okay because family and friends get together. I don’t like the massive meal, and if one has to deal with air-travel at all, Thanksgiving is hopeless. I think it’s probably a good idea to give thanks. I don’t really get a sense that people think much about the alleged Puritan/Pilgrim origins of this holiday, but I could be wrong--and often am.

5. Halloween is good for kids, I think. They enjoy the costumes. I tend to think of “gothic” writers like Hawthorne and Poe. Trick-or-treating has become dicey because the parents and guardians essentially have to accompany the children like a security-team, and there’s a great deal of pressure to buy huge bags of candy. Many college students seem to like this "holiday."

6. Easter’s good for a Catholic, like me. When I was young, we had the infamous Easter-egg hunts, and my father, being competitive, hid many eggs that were never found. That’s kind of amusing, now that I think about it. Probably the eggs were eaten by raccoons that very night. A cautionary tip for cat "owners": lilies are poisonous to cats, many of whom (of which) like to chew on lilies.

7. Dr. Martin Luther King, Jr.’s, birthday. I like this holiday very much, not simply because of King but because interesting things happen on or near that day in schools and communities. It’s a holiday that’s handled well, in my opinion.

8. Arbor Day. Not really a holiday, I suppose, and I’ve never really celebrated it. I’ve planted lots of trees, but I’ve never planted one on Arbor Day. I need to do that. I think this Day should be turned into a bigger deal, but I don't want to see it commercialized with Arbor Day greeting cards (that would be environmentally ironic) or Arbor Day gifts.

Most trees are excellent, after all, so why not celebrate this Day? I think it’s an especially good holiday for poets, in spite of Joyce Kilmer’s infamous poem with its extraordinarily mixed metaphors. Joyce was a man, as you probably knew, and he died in World War I. Ezra Pound thought there were too many tree poems, and that was 60-70 years ago. I don’t think you can have too many tree-poems, although more of them should probably appear online as opposed to on paper, to “save” trees. My favorite tree is probably the oak. Cedars are very admirable, too, and sequoias are impressive. I planted a sequoia next to a Victorian house we once owned. If all the subsequent owners will leave it there, it will tower over the neighborhood one day, and no doubt many poems will be written about it, pax Ezra.

Tic Tacs

In the check-out line at a grocery-store the other day, I looked again at the items for sale near the cashier's post--magazines, gum, breath-mints, candy, batteries, and so on. I wondered what percentage of a grocery-store's or "super-market's" net income springs from sales of such items and how much money I've spent in my lifetime on such items.

I looked once more at the Tic Tacs in their transparent little box. I have purchased Tic Tacs a few times over the years, but I've decided I don't like them. They're candy, and they look kind of creepy, and I remembered that I'd written a little prose-poem about them:

Tic Tacs

by Hans Ostrom

This little glass box once held a tiny kingdom’s jewels but now imprisons maggots. Or are they petrified eggs of the world’s smallest dinosaur? A message glued to the box orders me to “collect points and get incredible stuff.” I will do so. I will remove the maggots and the eggs, and I will seal the points and incredible stuff in the demitasse casket, bury it in a little cemetery in Luxembourg or Rhode Island. On a headstone made of one small mosaic tile, I will etch the words, “Tic” and “Tac” and with bad breath mutter tiny prayers for the soul of incredible stuff.

Copyright 2007 Hans Ostrom

For the heck of it, I looked for "Tic Tac" on the internet, and of course there is a site: tictacusa.com. The tag-line of the site reads as follows:

"Tic Tac Breath Mints Are Fresh Entertainment For Your Mouth."

To some degree, this line is more surrealistic than my prose-poem. One imagines sending away the very tiny stand-up comedians, jugglers, singers, and actors that had been providing entertainment, like micro-Lilliputians, on the precarious stage of one's tongue. And one imagines going to a microphone and introducing a new entertainment-act to one's mouth: "Put your teeth together for Tic Tac Breath Mints!"

In what sense do breath-mints entertain our mouths? Should they be called breath-mints, in fact, or mouth-mints, or something else (besides Tic Tacs)? What were the other names in the running when the company named this little candy? An auto-company once had the bright idea of inviting poets to submit names for a new car, and the company approached noted American poet Marianne Moore. She came up with "Tyrolean Turtle-Top." Certainly poetic, but probably not good for sales--except to poets, perhaps.

Good luck resisting that final purchase before you pass through the cashier's gate at the "super-market."

Guest Poet: Jared Leising on Beer, Ted Kooser, and Other Matters

Here is a fine poem by Jared Leising, a writer and professor in the Pacific Northwest and author of the chapbook, The Widows and Orphans of Winesburg, Ohio:



The Drink Ted Kooser Owes Us All


Twenty-four hours in a day, 24 beers in a case. Coincidence? I think not.

- H.L. Mencken


I go to Safeway
to buy a six-pack.
Somebody’s taken
a bottle from the
last pack, so now it’s

a fiver, dammit.
Was it Kooser?—that
geezer (my mom finds
cute) who wrote about
the miracle of

a lone beer bottle
standing right side up
and empty along
the highway—each line
three syllables long,

each stanza three lines.
My students read this
without awe, as though
they’ve done this plenty
after polishing

off a bottle at
fifty, cruising down
Aurora, tossing
emptiness to wind.

by Jared Leising


Copyright 2007 Jared Leising

Guest-Poems by Jones and Borsten

Here are two poems, one each by Michelle Jones and Sarah Borsten, writers living in the Pacific Northwest:



And Are We Yet Alive



by Michelle Jones


Why does this dirge happen?
Because my body hurts.
Because our ghosts are made
of silk curtains in the
window by the elm.

Must we because of this haunting
and that dirty sheet go wandering
down the steps with a crucifix
and hymn stuttering our softy voices.
And if you get there before I do,
Swing low, Swing low.


And must I wake each morning
broke back to your fist that
warns me of the blinking shut-eye,
and hear the sun buzzing at me
and camouflage my cheek with white,
the same way spilled wine stains
red on your sleeve.


And I erect like a statue with my legs
missing and your sour breath hovering
as your prompt me in the kitchen.
I am without foot, heavy in the chair
and remain with buckets of ammonia
instead of barrels of apples or bed sheets
clean from the washing.


You left me asleep with the quilt I made
and one cheek turned up so that
I could hear the dogs barking
and the bells calling me like a symphony.


The last few days, I told you that nothing hurt.



Copyright 2007 by Michelle Jones
* * * * * * * *

Yelling Fire

by Sarah Borsten

They tell me to yell fire
during personal emergencies--
the kind that would need more
than water to save me.
They tell me to yell fire
because strangers will
call nine-one-one
if they think they smell smoke
and not just cum.
It would be just like
my dreams of slogging
through thick mud,
no one around,
only this time
my lungs stretched past breath
my knees jolting terribly on cement
my thighs sore from holding myself together.
There would be a fire
but no one to put it out.

Copyright 2007 by Sarah Borsten