The Golden Age

(image: Poet and critic Randall Jarrell, with cat)










A colleague and I gave a paper on George Orwell at a conference recently, and I just noticed how odd the term "give a paper" is. In this case, it means that we collaborated on a 15-page single-spaced essay, submitted it, summarized it at the conference, and then responded to reactions.

As the discussion expanded, professors (mostly of political science, in this case) began to complain about students, especially students' not wanting to learn but instead merely to accumulate credits toward graduation. Passing over the issue of whether all students are the same, my colleague spoke up and said, well, when I was an undergraduate, that was pretty much what I was interested in--graduating.

The interchange reminded me of a quotation from Randall Jarrell, specifically from an essay called "The Taste of the Age":

Randall Jarrell
The people who live in a Golden Age usually go around complaining how yellow everything looks.
The Taste of the Age

That is, we tend to glamorize our own days in college and believe that students now are radically different. I don't think they are radically different, except perhaps insofar as I think they have had to mature--or at least to absorb more information--than we were. Jarrell's quotation reminds us to be careful not to think too highly of the past and too lowly of the present.

As a poet, Jarrell was extraordinarily empathetic, seemingly able to inhabit the emotions and perspectives of others. (He is most famous for the six-line tour-de-force, "The Death of the Ball Turret Gunner"). As a critic, he was fierce and acerbic. Karl Shapiro once said that after being reviewed by Jarrell, he felt as if he'd been run over but not killed.

Some things were probably better in "the good old days," whatever era to which we'd like to attach that phrase. But probably relatively few things. The problem is that we really can't compate year X to year Y--to get the full sense of how things really were back there in year X, for us, for everyone--including those who were weary of those yellow Golden Age days.

The Stuff That Came His Way

The Stuff That Came His Way

Yes, this is about the stuff that came his way

and his way with the stuff. By barter, whim,

or accident, odd items came my father's way.

An huge green spotlight from a Navy

destroyer. He wired the light, placed it outside,

and shined it on the mountain. Why?

. . .An ornate barber's chair--porcelain, chrome,

and leather. It occupied our living-room for

a year. He called it a "conversation piece."

I did not know what that term meant. . . .

A hand-made cross-bow. A mahogany

nutcracker in the shape of a naked woman:

the legs did the cracking (very funny). An

upright porcelain urinal, which he left outside,

leaning against a cedar tree. Dynamite. Mercury.

A Chickering grand piano, made in Boston but first

sold in Portland, Oregon. A ukelele. Hand-made

skis. An antique mechanical apple-peeler. Square

nails. Antique barbed wire. Petrified wood. A

bona fide jalopy, which he rigged to drive

a big-bladed buzz-saw. Bamboo fishing rods,

wire and pipe of all kinds, and a Chinese nightstick.

The intrinsic value of all these things was immediately

clear to me. That they had arrived and were mysterious

was all the verification I required. My father used some

of this stuff, laughed at most of it, misplaced some, and gave

a lot away to anyone who made the mistake of showing

or feigning interest. "Hell, take it--it's yours," he'd say.

It wasn't theirs. It wasn't his. It wasn't anyone's:

that was the problem. Toward all the stuff, my mother

remained skeptical, cooly tolerant. She liked the piano.

She laughed, once, at the nutcracker shaped like a woman.

As for the rest: it was from her point of view part of a

domain mismanaged with great authority by her husband,

my father, who was a kind of intersection of the Dadaist

Movement, of which he wasn't aware, and Daniel Boone.

I have a piece of cinnabar someone gave him. It's very

heavy for its size. I'm hanging on to it. The piano's in

my livingroom. I'm restoring his Ford pickup. His stuff,

it came my way. Like him, I'm a magnet for stuff.

*

Copyright 2009 Hans Ostrom

Caribbean Cruise (Not)

"Caribbean" is one of those words my mind always tempts me into misspelling. For some reason, I want an extra "r" in there. . . .

I've taken one cruise in my life--an over-nighter from Stockholm to a big island between Sweden and Finland. The Swedish travel-agent informed us that the colloquial name for the cruise was "the booze cruise." He was right. Swedes, especially Swedish men, got on the boat, drank and drank, and then passed out--usually without saying a word and never with causing trouble. Americans tend to get louder when they drink. Swedes seem to get quieter.

I did take a boat from southern Italy to Greece (and back) once, but it was hardly a cruise. It was a people-freighter.

Oh, and I've taken a small cruise-ship on a "dinner-tour" of Puget Sound. That was okay. I actually prefer sitting in a restaurant and looking at the water, however.

I took the ferry from Dover to Holland once, and the sea was rough. Not to get too graphic, but everyone was throwing up except the crew, an Irish woman, and me. I tend not to get sea-sick for some reason, although if I were on a ship in the Atlantic, I probably would. One person made the mistake of rushing to the wrong side of the boat and expressing himself, as it were, into the wind. A crew-member chided him. I thought that was mean. The Irish woman sat there on the deck smoking, and I sat next to her. I think we were each waiting for the other to get sick.

This has all been a rather unpleasant prelude to a poem.


The Home-Cruise

I'd like to take a cruise, Caribbean, let's say,
but I don't like "activities," crowded boats,
and troughs of food. I wonder if they'd bring
the cruise to me: A cup of sand, a bucket of
sea, a box of sunlight, a book about the history
of the Caribbean. --You know, just drop it all
off at the place here. Then I could put on

some swimming-trunks that don't fit,
play recorded Jamaican music ("Get Up,
Stand Up"), pretend to look through a
porthole, fall asleep drinking rum, wake up,
stand up, and feel as if I've taken that cruise,
come back, rested, with some small knowledge
of Jamaica and no sun-damage to my skin.


Copyright 2009 Hans Ostrom

Poetry As Impressionism

I'm continuing some of the most pleasurable reading I've done in some time--that of The Penguin Book of Modern African Poetry (cited in earlier posts). If you like poetry and haven't read it, then by all means buy the book new or used or borrow it from a library or a friend or a friendly library.

One of the short poems in there I like is by Femi Fatoba, a multi-talented person--actor, dramatist, stage director, painter, and drummer. He is from West Nigeria. The poem is called "In America," and (unfortunately, the blog-machinery gets in the way) each line below is supposed to be indented four spaces more than the previous line--to create a stair-step effect:

In America
The highway runs too fast
For men to feel the ground underneath;
The mirage does not have time
To look like water:
And too many rainbows
Strangle the clouds.

(p. 270)

Of course, any time anyone, including a poet, makes an observation about one's nation, one is likely to want to correct the impression--not so much out of defensiveness as out of a sense in which one believes one knows "the whole story." But in the case of poetry, photography, painting, etc., one must fight the urge to correct--precisely because what's being offered is an impression--not a sociological or anthropological thesis.

Having visited the U.S., Fatoba no doubt felt the impression(s) represented in the poem, and they're not inaccurate. Obviously, folks from rural California, Montana, and West Virginia (for example) may protest, "Wait a minute--we feel the ground underneath all the time!" But just as obviously, Fatoba isn't intending to ask his short poem literally to make such sweeping claims. No, he's giving us a quick impression, a lively, inspired sketch.

"The mirage does not have time/to look like water": what a great line, an effective way to convey the rush and haste evident in much U.S. (and industrial, generaly) culture. Fabulous. "And too many rainbows/Strangle the clouds": again, wonderful: a superb image and phrase to capture a visitor's impression of American excess, Americans' sense of their alleged "exceptionalism," Americans' sense of entitlement, and Americans' sense of "no limits."

Fatoba achieves so much in so few lines. Great stuff.

Name In The Book

Name In The Book

So I called an uncle to tell him
his sister, my mother, had died,
and he said, "Well, all of our names
are written in the Book." I took this
to be a reference to preordination
if not predestination. After

the conversation, I thought
about the Book--an elegant
symbol of fate, omniscience,
or both. The when, where,
and how of our deaths are out
there, no doubt about that.

But are they fixed, as in a book
already printed? The uncle
I've never known well thinks
so. Since we don't get a good
look at the Book, the fixed
points aren't legible to us,
so my uncle's as much in
the dark as I; it's just that
he stands confidently there.

I wonder if the Book is also a
log and therefore included
the phone-call with my uncle
before the call occurred. Could
be. Who knows? I have to say,
that's how the phone-call seemed.

I wonder how people talked
about predestination before
books started getting made,
but from this uncle's point of
view, I should maybe stop
wondering so much.


Copyright 2009 Hans Ostrom

Charity In Vancouver

Handouts in Vancouver, B.C.

A homeless alcoholic missing
half a smile asked me for money.
I gave him some. He said,
"Thank you. God bless you."
Moments later, we found
ourselves to be customers
in the same cafe. His use
of money to buy bread
and coffee surprised me.
I'd assumed he'd spend it
on booze to quiet tremors.

The one giving the handout
feels superior, perched to judge;
makes assumptions; and settles
into self-satisfaction. I wonder
what, if anything, he assumed
about me. I wonder if he gave me
the handout of a second thought.


Copyright 2009 Hans Ostrom

White Beard

Study: Man With White Beard

The old man's beard grew so big
it became a white cloud below
his face. Wee thunderstorms
occurred in there. Sometimes
a silver airplane from 1948
emerged, banked, and landed
on a nearby table. Behind

the beard lay the face
of a shy man whom no one
knew anymore. With the beard,
the man had grown garrulous
and querelous. He'd been
barking opinions for years.

Sometimes his family takes him
to lunch and tries to listen. They
look at the white cloud of whiskers,
which quiver when he talks. The
cloud hypnotizes them. They
don't hear the opinions coming
from the mouth behind the cloud.


Copyright 2009 Hans Ostrom

Bach to Basics

Watching Bach Played


I saw a string-ensemble play
Bach's music. Each musician
leaned, turned, and swayed
in chairs differently as
they played. The women's
backs looked strong in gowns.
The men's feet in black shoes
stayed fixed to the floor.

Sometimes violin-bows poked
straight up as if probing unseen
clouds just above the players'
heads. Portly cellos had to be
held up like friendly drunks.
They mumbled low genial
gratitude. One man stood

above the players, waving
his arms and a stick as if
to try to get someone's
attention. The violinists
may have glanced at him,
I don't know, but mostly
they cuddled their polished
wooden instruments, and
let their bodies feel the music.


Copyright 2009 Hans Ostrom

Taxes Make Cats Sick

As everyone except those who don't pay taxes knows, it's tax-season in the U.S. By "those who don't pay taxes," I mean those wily global capitalists. If you can run a company into the dirt, threaten nations' economies, AND get a bonus for doing all that great work, there's no way you're going to mess with anything as trivial as taxes.

Before I get to taxes and cats, I should mention that hotel-owner Leona Helmsley famously said, "Taxes? We don't pay taxes. Taxes are for the little people." Unfortunately, the government convicted her of tax-evasion, and she had to go to prison. There wasn't an immense amount to like about Leona. She was overbearing, and, a self-proclaimed perfectionist, she treated her employees terribly, humiliating them instead of interacting with them as professional employees.

Nonetheless, I had some sympathy left over for her after she got out of prison, lived as a recluse, died, and left all her money to a dog. Leaving it to a worthy non-profit would have been better, but leaving it to the dog showed just how isolated and probably almost mad she was. Apparently the dog doesn't need that much to live on (it is still alive), so I think some of the money does go to charity. "Can't buy me love . . ." does seem to apply in this case.

Anyway, we're getting ready to have our taxes "done"--quite an expression. The process requires as much work as if we figured out the taxes ourselves. The only difference is that, by having a professional fill out the forms, they're filled out correctly. That's a substantial difference.

We begin the process by scattering forms and such on the floor. We like to call this stage of the process "chaos."

The cat threw up on one of the papers. We're working on several hypotheses to explain this occurrence. 1) The cat objects to income tax. Cat's do operate in the world as if they're entitled to everything, after all. 2) The cat found an arithmetical error in the form, or it read the form and believed we'd paid too much for something--or that we should have spent the money on something cat-related. 3) The paper in question had been handled by a dog working as a cashier. 4) The cat had a hairball stuck. Most of the evidence supports 1, 2, and 3, but we haven't ruled out #4 entirely.

The upshot is that one of the supporting documents we're sending to our accountant will have a stain on it.

After we scatter the forms and other records, we fill out a booklet our accountant has given us. It's loaded with questions. Many of them seem strange to me, so strange they induced--as opposed to inspired--a poem of sorts.


Tax-Form Questions

Did you sell a medieval castle last year? If so, then go
to line 25C and wait.

Did an imaginary friend live with you more than
50% of the time last year? Did the friend pay
imaginary rent?

Did a marauding band of unfettered global
capitalists steal your retirement-fund? If so,
join the crowd, and weep in the streets.

Has anyone ever actually asked you what you'd
like your taxes to support? We thought not.

Add the total on line 36A to the total on line
1,401, 263C and divide by the total on line
6F. Then multiply by eleven. Light incense and
chant. Count on your fingers. You are ready.
Welcome to Taxland, Pilgrim.


Copyright 2009 by Hans Ostrom

Honestly!

Uh-oh: now I'm trouble. A blogging colleague and fellow poetry-enthusiast from Africa (he writes the wonderful Poefrika blog), Rethabile, has invited me to take the honesty-challenge. He writes,


"Honesty is the best policy. Yeah, right. Tell that to... too many names pop up at this. Never mind it, though. Let's play at being honest. 100% honest, this very Saturday. What with it being the first day of Spring and all.

I will be celebrating Norouz that day with family, eating Adas Pollo and drinking a nice red. Why not Australian Shiraz? But never mind that.

For Saturday, 21 March, place the Honesty badge in a post on your honest blog. By so doing, you will be inviting your honest readers to ask you an honest question each. And you swear by the skies of thunder that you will reply honestly.

Your fans are honest and good and knowledgeable enough not to ask unanswerable questions, of course. I will certainly place the badge in a post on Poéfrika, so come by and ask away. The askee has two "passes" ("no comments" in bloglese). If you can badge up a post before Saturday, by all means do so. That way we can all dream questions up, ha ha ha!"

Wow, only two passes. These are some stringent rules. Nonetheless, I'm going for it. Ask questions if you like, and I'll try to answer them honestly. Notice "try." Also notice "unanswerable questions," above.

And may Rethabile enjoy the Australian shiraz and the Adas Pollo. I just saw BOTTLE SHOCK, finally, and the Brit. who ran the famous contest in '76 (Paris) predicted that, once an American wine "beat" a French wine, all bets were off, and wine would be produced successfully around the globe--including (he predicted) Australia and South America. He also predicated Africa. I don't think I've every tasted an African wine, but I'm ready.

"Honestly!" used to be a favorite expression of my mother's--except it didn't have anything to do with honest; a rough translation might be "Good grief!" That is, she (and others of her generation) used it as an expression of frustration. I wonder how that got started. She's passed on, so I can't ask her--directly, anyway. Even if she were still here and I asked her, she might give me the cold blue stare, as if to say, "What do you mean, 'How did it get started?' It just did."

Words Effective In Poems, Experts Say

(image courtesy of International PEN organization)








Make Poems Out of Words

If in doubt, make your poems with words.
It's awfully conventional, and individual
results will vary, but usually things work
out fine. Which words? Excellent question.

Let me suggest some possibilities: hail,
moist, ax, electron, pollen, choice, chew,
choke-cherry, Tanzania,, sweat, sweet,
sulphur, gluttony, knuckle, tongue, balk,
rip, Thunder Bay, and, the, when, hence,
fennel,Lesotho, slag, Uppsala, velvet,
and torque. Spread the words out
and place additional words among so
as to create meaning and pleasure.

Stop and take a look at what you've
arranged so far. Then rearrange
the words, as necessary. Rely
on instincts. If you need more words,
remember that English contains
between half a million and a million
words, that there are hundreds of
other languages, and that you may
create your own words. I myself
invented the word "consumocracy"
not long ago. This is just an example,
and I'm sure you can do better.
The number of poems
to be made of words is infinite, so
welcome to the big project.

Copyright 2009

Poems From Africa

The Penguin Book of Modern African Poetry arrived, and of course I immediately dived in.

Certainly, the editors must have felt dispirited at times (as they imply) because their task was to represent poetry from writers in nations and homelands across a whole immense continent in a wide variety of languages--all in one volume.

Some well known writers are represented, as one might expect; these include Ben Okri, Tchicaya U Tam'si, and Wole Soyinka.

One of my favorite poems so far is "Sometimes When It Rains," by Gcina Mhlophe, a poet from South Africa. Unfortunately, no other biographical information about her appears in the back of the book. "Sometimes when it rains" is a first-line refrain in five-line, free-verse stanzas, of which there are ten. The images, experiences, memories, and/or scenes depicted in each stanza get increasingly more complex, weighty, and intense, and there's also a general movement from childhood to adulthood--and toward what might be called political awareness. A poem with this design can easily become a static list-poem, but Mhlophe escapes that outcome easily. The voice is authorative, and one never gets the feeling the poem or poet is trying to do too much, so (almost paradoxically) the poem's able to achieve a lot. I think I'm going to use this poem in classes. There's so much to admire in it.

It's hard to beat a new, interesting anthology of poetry on an unseasonably cold day in the Pacific Northwest. And I'm just getting started reading it.

Tell Us How We're Doing

We went to a restaurant the other evening, and with the check, also known as a bill, came a pre-printed card on which was printed a survey about the restaurant and the server.

I almost never fill out such surveys because I don't know what the management is going to do with them, if anything. I might have mentioned that some of the lettuce in the salad was frozen, but I'd already mentioned this fact to the server, not so much to complain or whine as to alert her to a possible refrigeration-problem. Of course, my social-scientist friends would probably critique the validity of the survey itself. Usually surveys like this are titled something along the lines of "Tell Us How We're Doing."


Tell Us How We're Doing

When our global corporation defrauded
everyone, did a representative greet you
with a smile? When we built another
nuclear missile, was it delivered in a
timely fashion? After we dumped
poison into a river without warning
anyone, did you receive a Christmas
card from us? When we took away
your rights, were we dressed properly?

We value the opinions not only of
our clients but also of our victims.
Please take a few moments and let
us know how we're doing. After
you fill out the survey, present it
to the uniformed guard who is
staring at you. Thanks!


Copyright 2009 Hans Ostrom