Murray Edelman and President Obama

A colleague introduced me to Murray Edelman's book, Constructing the Political Spectacle, a while back. I wish I'd read it when it came out, in 1988, U. of Chicago Press. It is superbly written, well argued, terse, and just plain smart. As the title suggests, Edelman applies social-constructivist theory to the political spectacle, the highly complex social performance we call politics or government.

Here's one paragraph:

"Whatever its current connotation, talk about a leader is an ideological text. Like all terms that appear often in discussions of politics, 'leadership' introduces diverse language games that vary with the social context. References to leaders of one's own country, interest groups, friendly or hostile foreign countries, bureaucratic organizations, riots, or revolutions initiate disparate chains of associations that vary with the current situations of observers and are often multifaceted and contradictory. In each case the leader personifies a range of fears of hopes. As a sign, 'leadership' combines wide ambiguity and strong affect" (p. 37)

I thought of President Obama's first formal, official press conference when I re-read this paragraph. What did Obama do to that piece of the spectacle, "the presidential White House press conference"? Well, as Edelman suggests, that depends on whom you talk to. ("Wide ambiguity and strong affect"). I'm guessing that among the first responses from most of those who voted for Obama and some who didn't was one of curiosity ("how will he 'do'?"), and/or one of relief or celebration ("our guy won"; "he's more articulate than Bush"); and/or one of advocacy, inwardly cheering on the President.

My first response to the press conference was that it seemed staged pretty much like the old ones. The staging and lighting look the same as they did for Bush II and Clinton. The press sits well below the president, who stands in front of "the inner sanctum," as it were, of the White House. The effect is that the press is "let in," but not too far, and in an inferior (physically) position.

My second response was that Obama seemed so professorial. He answered only 13 questions in about an hour, and he often spoke in paragraphs, the way Clinton did, but mostly without Clinton's wide-ranging diction, which was sometimes quite folksy (at calculated moments), sometimes not. Obama didn't sound all that different from people I've learned from and worked with for a long time. --A bit long-winded, truth to tell--and it's an occupational hazard of professors to which almost none are immune. After all, in a basic sense, we're paid to profess, just as a plumber is paid to fix pipes.

In the front row, next to Helen Thomas, sat talk-show guy Ed Schultz, a former Division II football player who led the nation in passing yardage one year. Schultz occupies an upper-Midwest, centrist, good-old-boy, union-friendly niche on Air America, although his show is actually distributed by the Jones Network, if memory serves. But he still has "the jock" about him, and I caught him looking down an awful lot, as if he were thinking, "Wow, when is this answer going to be over?"

My third response was that I felt Obama did what all presidents do in such situations: not answer direct questions, pivot, and then launch into answers that are mostly general, predictable, safe, and only specific when specific unilaterally useful. One difference from Bush II, perhaps, is that the rhetoric is still essentially argumentative (as in making arguments, not bickering), while Bush II just seemed to toss out talking-points; he rarely constructed answers, as it were. Bush provided mostly morsels. Obama seems to build answers with well considered parts.

Obama is certainly different from Bush II, Clinton, and others, but this small part of the spectacle has hardly changed at all. Whereas Bush used blunt talking points and a kind of twitchy nervousness to avoid answering questions, Obama essentially filibustered as a way of controlling the situation. When Helen Thomas asked him whether he knew of any Middle East countries that possessed nuclear weapons, he, like presidents before him, didn't get within a hundred miles of answering the question, even though Israel's possession of nuclear weapons is common knowledge. She was playing by press rules; he was playing by old presidential rules. One simply doesn't answer that question. When she pressed him, he moved on to another questioner, just as presidents have done before him.

But as Edelman might have noted, others "constructed" this part of the spectacle each in their own ways, although of course there are large patterns of response. I've enjoyed hearing how others responded to the press conference, just sort of to observe the construction, to to speak. Like poems, political spectacles are built, in a way, but their scale is so much larger, and there's obviously more at stake, at least in worldly terms.

Combination of Factors

(image: Keystone Kops)

If a "mower" is something that mows, is a "factor" something that facts? For better or worse, language is never that logical, although there's an argument to be made that German is more predictable, if not "logical," than English. I'm not going to make that argument, partly because I'm unprepared to do so. Discretion is the better part of not getting trounced in a linguistic argument.

As one might imagine, the OED online is bursting with defintions of factor, used in a variety of parts of speech. Here is one especially interesting (to me), if obsolete, one:

b. One of the third class of the East India Company's servants. Obs. exc. Hist.
[1600 Min. Crt. Adventurers 23 Oct. in Cal. State Papers, E. Indies (1862) 109 Thos. Wasse to be employed as factor. Ibid. 18 Nov. ibid. 111 Three principal factors to have each 100l. for equipment..four of the second sort to be allowed 50l...four of the third sort 50l...and four of the fourth and last sort 20l. each.] 1675-6 in J. Bruce Ann. East-India Co. (1810) II. 375 We do order, that..when the Writers have served their times they be stiled Factors. 1781 LD. CORNWALLIS Corr. (1859) I. 378 We..have a council and senior and junior merchants, factors and writers, to load one ship in the year. 1800 WELLINGTON in Owen Desp. 719 Writers or factors filling the stations of registers.

In mathematics, a factor is a mode of simplification, isn't it? I am so distant from my days with algebra, alas, and algebra is the better for it.

It might be nice, however, if a "factor" were a machine that facted. "Bob, I'm telling you, if you want to make facts in a hurry, you're going to have to upgrade to the Black and Decker Factor-500."

For better or worse, the following small poem uses "factor" in the more customary and therefore vague sense.

A Combination of Factors

"A combination of factors"--such

a fine phrase, a wave of the hand

in the general direction of cause,

correlation, complexity, effect.

It's more droll than "I'm confused,"

less folksy than "Who knows?" It's

a nice place in phraseology to escape

to when the combination of factors

gets to be too much out there, or in here--

they appear to be ubiquitous, not to mention

multisyllabic, those factors, and

they do seem to prefer to combine.

Copyright 2009 Hans Ostrom

Walk In the Sunshine

Walk in the Sunshine


How should I walk in the sunshine?
--Winter's been so long, the sun
so seemingly distracted.
My shadow will come back
and stick to my feet. Also,
I'll need to get used to moving
and being glad at the same time.

"It will come back to you," people
say. They say, "You'll remember how
to walk in the sunshine." They don't
know this. Nothing comes back. We
make up memories, ask questions,
and behave as if we're points of reference.
And did I tell you about the avalanche?

That's re-routed everything around here.
Anyway, the upcoming interval doesn't
know some people call it Spring and everybody
calls it something or other. Time reflects
not on its own situation. Time is completely
unselfconscious, unaware that it seems
to stalk us constantly. Time's always constant,
in spite of Relativity. No questions occur to
time. Nothing. It knows how to walk
in the light of every star.


Copyright 2009 Hans Ostrom

Stafford and Yevtushenko

An oddly matched pair--William Stafford and Yevgeny Yevtushenko: the former a conversational, modest American, in favor of low-key rhetoric; the latter in a tradition of more public, declamatory poetic rhetoric, and also in possession of a robust personality.

I've convinced myself I perceived an intersection in their work, however, specifically in a couple of stanzas. The first is from the opening of Stafford's poem, "Next Time":

Next time what I'd do is look at
the earth before saying anything. I'd stop
just before going into a house
and be an emperor for a minute
and listen better to the wind
or to the air being still.

The poem is from An Oregon Message, and the last line of the stanza is supposed to be indented 5 spaces, but the blog-machinery doesn't want to cooperate.

I like the matter-of-fact whimsicality of the lines but also the way they and the whole poem suggest a wish to do and to be better.

In "Requiem for Challenger," a poem from Almost At the End and, as the title states, a poem concerning a space-shuttle explosion, Yevtushenko begins with a great dramatic image: "This white tragic swan/of farewell explosion," and then, with his panoramic view, manages to take in Arlington Cemetery, the Kremlin, the Pyrenees, the Caucasus, Mt. Everest, and the Statue of Liberty. --Broad, bold strokes: what one has come to expect from this poet. But here is how the poem concludes (and again, the indentation of lines is off; my apologies):

Our life is a challenge.
Our planet is our common Challenger.
We humiliate her,
frightening each other with bombs.
But could we explode her?
Even by mistake?
Even by accident?
That would be the final error
never to be undone.

Like Stafford, Yevtushenko is interested in one's, in everyone's, doing and being better, and, in my opinion, he makes a nice choice when yoking one kind of technological disaster with another one--the nuclear one. Probably some will see "our common Challenger" as trite--a repetition of the "spaceship Earth" analogy, but Yevtushenko is never afraid to err in the direction of big plain statements, large-hearted emotion from which he probably knows some readers will recoil.

Perhaps the intersection between these poems and poets, if it exists, concerns something as simple (but difficult) as wisdom.

Oakland's Okay By Me, There, Gertrude

(image: vintage photo of Jack London Square, Oakland,
California [with vintage automobiles])


It seems as if I've had more students hailing from the East Bay Area of California in general and Oakland/Berkeley specifically in classes than I used to. I enjoy talkling with them about that region.
*
I went to college at U.C. Davis, not Berkeley, but I still spent a lot of time in the East Bay, and I have good memories of Oakland. There's a sense in which one is supposed to be more fond of San Francisco than of Oakland. --Nothing against San Francisco (except the baseball team perpetually breaks my heart), but I happen to be more fond of Oakland. I'm not entirely sure why.
*
As noted, memories of friends, events, and places play a role, of course. Also, I became a fan of the professional football team, the Raiders, by happenstance: the only television-signal we could receive in the Sierra Nevada canyon I grew up in was from an NBC affiliate in Sacramento, and NBC broadcast the American Football League games, whereas CBS broadcast the venerable NFL games. Essentially, the TV signals at the time had to carom off peaks; why one signal from Sacramento arrived at our aluminum antenna and the other didn't remains a mystery, but the mystery led to my "following" the Raiders.
*
Let's see: I accepted a prize in a statewide poetry-contest in Oakland. That was a good night. The first poem I ever read on the radio was for a recorded show on KPFA, whose home is technically Berkeley, I think, but that's close enough for poetry, radio, and horse-shoes. . . .I knew some people in Oakland-proper, in the Oakland hills, in Berkeley, and in nearby El Cerrito. . . . .As far as I know, I was probably the only white person in a movie theater in Oakland one afternoon, long ago; most of the rest of the audience was African American; it was an instructive, valuable, valued, pleasant experience. . . . . The Oakland Museum is splendid. . . . .Trees, birds, people, bookstores, water, places to eat, places to listen to music. . . . .All of these things count. . . .
*
*
As to Oakland itself, whatever that means, I just feel a certain connection to it that I don't feel to some other cities. Gertrude Stein, who lived in Oakland for a while, apparently felt little or no connection to it because she observed, famously, of Oakland, "There's no there there." Well, there you have it. Or maybe not.
*
*
Oakland Is There


Gertrude Stein famously said a lot of famous
things fashioned to be famously remembered
tenderly such as, of Oakland, California, U.S.A.,
"there's no there there," but after she left
and eventually went to Thereville, France,
the There of Oakland that had actually always
been There remained There in her absence.
*
See, Oakland had and has persons, places,
and things--the stuff that composes the There
of any place from Paris to Bangkok, Vladivostok
to Lesotho, Aberdeen to Montevideo. Gertrude
wanted more, or less (who knows?) from Oakland.
--Some irony to that since she possessed the
Oaklandish visage of a stevedore or boxing promoter,
a face with angles and planes in which Picasso
found a lot of There to paint in the portrait he painted.
*
Gertrude wrote some inlandish Oaklandese
sentences and hit some of them right on the
button, and then she died. Oakland's still there.
So is its There, which was there all along, and
will be, and is, and is there, and so there.
*

Copyright 2009 Hans Ostrom

Yo, Poe

Thanks to the incalcuable effort, energy, and imagination of some colleagues, the college at which I teach is about to host "SymPOEsyium," celebrating Edgar's 200th birthday, which actually occurred about a month ago, but after 200 years, well--close enough. The celebration will feature lectures, informal discussions, a parody-contest, performances, screenings of films, the serious, the campy, and the in-between. And Lord knows Edgar was in between--serious writer; writer for pay; "Southern Gentleman"; impoverished, feckless roustabout; considered by some to be an indelibly influential writer and critic; considered by others to be juvenile and excessive. Poe was most American, perhaps, in his desperate need for acceptance, in his attempt to try on different identities, in is manic drive, and in his raging inventiveness.
*




The poetry captivated me for a brief "moment" when I was in my early teens, and "The Raven" is still quite a performance, a grand entertainment. Poe also had a way with lyricism. Like Auden, he liked to play with words.
*

Many of the stories still work for me. They aren't especially subtle (ya think?), but that trait mostly springs from Poe's idea of what a story (and, indeed, a poem) should do: go for that one effect. In many instances, the stories achieve multiple effects, and the personae that narrate many of the tales fascinate, are more complex than one might first realize.
*


It's great to watch a writer essentially invent sub-genres that we now call "horror," "thriller," and "detective story." It's fun to watch a writer have fun. Poe's pleasure in entertaining comes through especially, I think, in "The Cask of Amontillado." (Unfortunately, my having worked as a stone-mason's assistant almost ruins the story for me because I know how long it takes to mix mortar, build a wall, etc. Poe glides over the details; more power to him.) "The Fall of the House of Usher" still holds great appeal, and Poe achieved so much in such a small space (so to speak) in "Murders in the Rue Morgue": genius-detective (half-amateur, half-pro); wacky crime; grisly crime-scene; the "locked-room" puzzle; the flummoxed police; the surprise ending.

Writers and readers should probably not underestimate how well Poe tended to start his stories. Some great openers.
*

In college I read and studied The Narrative of Arthur Gordon Pym. A wild book, and not a bad novel, really.
*

For SymPOEsium, I'm going to get off my duff and, with a colleague, talk about "The Philosophy of Composition" and the famous review of Hawthorne's tales. I'll be giving Edgar an imaginary fist-bump. I hope his spirit takes it in the right spirit and doesn't try to brick me up in the catacombs. Yo, Poe: Happy Birthday.

A Way Out of the Financial Crisis

In these tough economic times, we must all brainstorm ideas to help improve the situation, even if we are poets and our financial brainstorms look like tiny dust-whirlwinds on the prairie.

Obviously, if we have just a wee bit of extra money, clothes, or food, we ought to give it/them to somebody who can get it/them to those in need. That's a small-scale idea.

My bigger idea is this: The U.S. should declare its dependence on Great Britain. I know this sounds terribly counterintuitive, especially since so much of our history and identity, not to mention our status as a nation, depends on certain colonists' having declared independence from Great Britain. Then the whole founding fathers thing--you know the story.

In terms of age, however, the U.S. is essentially a teenager, and Great Britain is . . . of advanced years. If we work with this analogy a bit, we might think of ourselves as teenagers or 20-somethings who need to move back in with their parents--just until we get our finances organized, get back on our feet. No doubt from Great Britain's point of view, this maneuver will seem cheeky, to say almost the least. Also, there may be some legal hurdles to jump. Is it possible for a nation to undeclare independence? We must get a team of lawyers, I mean solicitors, working on this, and we should encourage them to wear white wigs, just to send a subtextual message.

If Great Britain goes for the idea, we could ask it to pay some of our bills. One problem, of course, is that I can already imagine people from England shouting, "We already do! You got us into Iraq, Afghanistan, and the banking crisis! You ruined our language! You stole The Office. George Bush hypnotized Tony Blair! What more do you want from us?" It's hard to know how to respond to such points, although one tradition in Parliament (I gather, from watching it on BBC America) is that you can grumble and mumble. I really like how members of Parliament do that. It's impolite and civilized both at once.

"When, in the course of human events, a certain country goes broke and needs to move in with another country, declaring dependence seems like a good idea."

That doesn't quite have the same noble ring, I grant. But it's just a first draft, and I'm just brainstorming, as a poet and a patriot; in a weird sort of way, would undeclaring independence be patriotic? Jeez, I don't know. It's hard to follow the carom-shots. But it seems less complicated than these so-called bail-out packages.

Still Surprised

(image: Lucille Ball)











Still Surprised


I'm still surprised crickets can make
that noise. With their legs. Still surprised
by literature, by love, by eyes. Still
surprised when societies function.
Astonished still by cruelty. Mystified
yet by existence's existence. Always
shocked by violence. I'm still surprised

by the pull of words. Still puzzled that
a part of me imagines it can bring back
those who died: magical thinking. Still
flummoxed by what, exactly, the roles
of child and parent require. Remain

wounded, permanently altered, by
the murders of JFK, Malcolm X, MLK,
RFK, Allende, Palme, Till, and all
the so-called nameless ones. Still
stunned by numbers attached
to people killed. One. Ten. One
hundred thousand. Forty-five thousand.
Six million. Twenty-five million. I'm still
here, so it seems, surprisingly. I'm
still surprised I'm surprised by
cynicism and lies.

Copyright 2009 Hans Ostrom

For Cafeteria Workers

According to the OED online, "cafeteria" used to, more or less, refer simply to a coffee house:

1839 J. L. STEPHENS Trav. Russian & Turkish Emp. I. 157 Every third shop, almost, being a cafteria [sic] where a parcel of huge turbanded fellows were at their daily labours of smoking pipes and drinking coffee. 1894 Lakeside Directory Chicago 2188 Cafetiria Catering Co. 45 Lake. 1895 Ibid. 2231 ‘Cafetiria’, 46 Lake, 80 Adams, 108 Quincy and 93 Vanburen. 1896 Chicago Tribune 28 June 4/1 Gerbach used to be a waiter in a West Side restaurant subsequent to his employment by the cafeteria company.

I especially like the reportage concerning one "Gerbach." I mean, the quotation sounds matter-of-fact, but there also seems to be a menacing undertone.

At any rate, "cafeteria" now seems to refer to any large semi-self-serve place to get food, often connected to institutions like hospitals or universities. Of course, the "self-serve" aspect is mostly illusory. A lot of people put in a lot of work to get that food to where you serve it to yourself, but not really; mainly you just carry that tray or fill that glass. I worked in a cafeteria once, almost entirely behind the scenes as a dish-room worker, po-washer, and grill-cleaner, but also as a "runner" tasked with filling those odd milk-dispensers and replacing silverware, etc.


For Cafeteria Workers


The task of cafeterias is to feed large
numbers of people quickly. They are
not so different, then, from farms and
ranches, except the clientele is often
less polite than cattle, horses, and pigs.
*
Back there in the kitchen, they get it
done, the workers: Soup for thousands,
noodles for hundreds, protein and starch--
all timed to be there when the herd arrives
with bad moods and lots of opinions.
*
The dishroom is a symphony of clash,
a humidity of food-smell, steam, and sweat,
a silver cacaphony. The conveyor-belt's
the boss. Each tray brings a catastrophe.
*
The automatic dishwasher--a tunnel of water
and soap--disgorges disinfected implements
eaters will soon stuff in their mouths again.
The pot-washer is a lonely figure. Once I was
he. Heaps of stainless steel arise, food welded
to metal, grease smeared on every plane. Alone,
you work your way through the mountain 'til
nothing's left but you, your soaked shirt, and
clocking-out. Out front, the servers smile.
*
They remember names and endure whiners
and would-be gourmands. Runners fill machines
that distribute fizz and syrup. Cashiers stand on
weary feet and process armies packing trays,
hunger, haste, and attitude. Bless the cafeteria
workers, who are better than we deserve.
{
{
Copyright 2009 Hans Ostrom

Civil Liberties in Bloom?

(image of interned American citizens)









Here is a poem from Mitsuye Yamada's book Camp Notes and Other Poems:


Evacuation

As we boarded the bus
bags on both sides
(I had never packed
two bags before
on a vacation
lasting forever)
the Seattle Times
photographer said
Smile!
so obediently I smiled
and the caption the next day
read:

Note smiling faces
a lesson to Tokyo.
*
Kitchen Table: Women of Color Press, 1992, p. 13.
*
Yamada and family were removed from Seattle and interned in Idaho during WWII. The same thing happened to American families of Japanese background up and down the West Coast.

One of the best designed memorials I've seen regarding the internment happens to be on "my" campus. Alongside sidewalks are planted cherry trees that blossom twice a year. At the base of each cherry tree is a small plaque. On each plaque are the names of the college students on campus who were removed from said campus and sent to interment camps. Probably many of them were sent first to the Puyallup Fairgrounds and held in animal-stalls before being shipped elsewhere. Imagine having grown up in the U.S., being a an American college student, going to class, living your life, and then being removed and interned one day. Of course, property (farms, grocery stores) was stolen and never returned to the families as well. (A Japanese-American alum of the university was chiefly responsible for getting this modest but effective memorial established. A "well done" to him.


Yes, of course I've heard the alleged ways in which the issue was "complicated" and so forth, but the plain facts don't seem to want to budge. Persons of German background were not arrested and interned (nor should they have been). The persons interned were American citizens, not Japanese citizens, so this thing called the Constitution: where was it? Also, where was an inkling of evidence, not to mention due process? Legal representation? To stack irony upon irony, many interned Japanese American men were offered the chance to join the American military and fight--and they took that opportunity and comported themselves well.

Where were the newspapers: Apparently the Seattle Times behaved simply as a cheerleader, rather like Judith Miller, the New York Times, and Bush's crew recently. Newspapers and other journalistic media are supposed to have a contrarian attitude toward who's in power, no matter who's in power. It says so, right there in Contrarianism for Dummies. :-)

I have a colleague who teaches Civil Liberties. He is planning to save 15 minutes in class one day so that he can take the class to the trees and the plaques and suggest that this is one of many reasons why such concepts as civil liberties (and due process, and evidence, and so on) matter.

Counter-Memoir

{

{

{

{

{

{

{

{

Counter-Memoir

*

*

Nobody wants to hear his stories:

what a relief. It's refreshing to him

not to be of interest, not to try to

entertain, not to inflate the value

of his experience. Obscurity is

a dear state to occupy. It is spacious

and undemanding, like a meadow

that wasn't on the map. Still, sometimes

people ask questions, maybe out of

politeness, hard to say. So then he talks

quickly about himself but changes

the subject as soon as possible. Silence

*

is his memoir. A blank page encompasses

that life nicely. He used to want people

to be interested in is stories. What,

he wonders, was he thinking? He

doesn't care about his life-story,

aside from the fact that it appears

to exist. His life-story is boring, partly

because he knows it too well. He wonders:

Is autobiography a kind of sin?

{

{

Hans Ostrom Copyright 2009 Hans Ostrom

Performance-Enhancing Drugs

(image: Roger Clemens, unamused)



The recent hubbub over performance-enhancing drugs has made many a sports-fan morose. If we take the long view, however, athletes have always probably been looking for an edge of some sort, and one wonders about the extent to which some of the drugs have a placebo effect. Also, think about all the bad and mediocre athletes who tried the drugs, only to find out they (the drug-takers) were still bad or mediocre athletes, except that they'd expended cash and ingested something awful.

I do remember with some amusement the Cold War Sports-Era, when some of the East Bloc athletes, especially some women, looked, well, unusual, but I reckon some athletes from the West were mischievous, too. Ya think?


As usual, I tend to focus on peripheral questions. For example, with regard to Barry Bonds, I always wondered why more players didn't imitate him by choking up on the bat, not by taking (allegedly!) performance-enhancing thingamabobs. Bat-speed seemed to be one key to Bonds's success. I don't know of another major league player who chokes up on the bat. In fact, most to the opposite. They get their hands on the knob of the bat itself.

At any rate, I decided to apply the contours of this sports-scandal to literature:


Performance-Enhancing Literary Scandal


Reports from Greece today allege Socrates
may have take the human growth-hormone,
HGH (not an inventive abbreviation). Owing
to an allergic reaction (the report continues),
Socrates may have had to employ Plato to
write the philosophy for which Socrates is
famous. Socrates, having also ingested hemlock
long ago, was not available for comment.


Meanwhile, communiques out of St. Petersburg
and Moscow suggest Dostoyevsky and Tolstoy
may have ingested steroids that helped them
double and triple the size of their novels. Elsewhere,
Faulkner and Joyce scholars are vehemently
denying that the impenetrable sentences of these
two Modern titans are the result of performance-
enhancing chemicals and not merely showing off.


Spokespersons for Thomas De Quincey and Charles
Bukowski said, "Read the books; then decide whether
the stuff we ingested enhanced or not. Also, shut up."
F. Scott Fitzgerald, speaking from West Egg in Heaven,
repeated his oft-quoted line: "First you take a drink, then
the drink takes a drink, then the drink takes you."*
{
{


*Quotable Men of the Twentieth Century, edited by Jessica Allen. New York: William Morrow, 1999, p. 13.

Foggy Couplets

Couplets in the Fog


Fog's a species of weather--
gray, like a pigeon's feather.
Auden once wrote, "Thank you, fog."
Sandburg thought of cat, not dog.
Fog's in Eliot's Unreal City--
yellow fog, what a pity.
Call it mist, call it fog:
Still you tripped over that log.
If you can, take off work.
No sense traveling in that murk.
Anything you try to say
will come out mumbled, foggy gray.
The fog is subtler than the snow.
And so it's the more dangerous foe.



Copyright 2009 Hans Ostrom