for Dina Tagliabue

SUNNY SISTER

                                 for Dina Tagliabue

I never made it to the Mimbres Ranch,

Dina – though Alex & Phoebe did,

& brother Jim did, too – up

in them hardscrabble cactus hills, with a bunch

of hippies.  You chugged out there back when

in your VW bus, dragging along

stray hitches from Michigan –

getting the farm going, the pottery kiln...

Bob was there early, I guess, plying

the seasonal pickers’ fields

& his carpentry (& sprout yields

from the bathtub hydroponic mung-bean

enterprises).  Early & late he was –

composting with you to Sicily,

your garlic plot of earthy

transplants (care of kind Erica, & Grace).

It wasn’t my life, it was yours –

tied close to soil

by musing love-wrung toil

until this planet glazes bronze, & grows...

your joy, your blazing smile, Dina!

You were the sunny sister

to my moon’s iris – her

Inca-mauve Sheep’s Clothing (Francesca);

& now I see you foot the potter’s wheel

& knead your human clay

into a memory of joy...

molding earth to sunlight, in a laughing reel.

1.26.20

Dante at 56

Little magazines, poetry publishers, the literary community... I say yes to all of them.  Heck, I co-edited & published a little magazine for 10 years (Nedge); I spent at least 5 years trying to promote a local literary non-profit (the Poetry Mission).  The fact that I put a lot of my poetry on this blog is not evidence that I am some naturally cantankerous, nay-saying misanthrope.  No way.  I may be a little feisty - I think I get this from my mother, who is very feisty.  I may at times be cutting & sarcastic (this is all me, not my mother).

But I do not avoid magazines on principle - in fact, I received another rejection notice just now!  No, I put out a lot of poetry on this blog because the kind of drivel I'm writing is in fact very suited to the blog set-up.  Ravenna Diagram, for example, is an ongoing serial poem, sometimes quite diaristic & occasional (ie. responding to the "occasions" of the day).

Today's entry is an example, as have been several posts of late.  Dante died on this day 694 years ago, in 1321, at the age of 56.  Some scholars (the jury is out) have taken a position which entails that Alighieri & I share a birthday (May 29th).  So I am already 7 years older (& almost 700 years later) than Dante was, when he died - having completed his Paradiso not long before.

I haven't completed any Paradise yet.  I have not "lifted the great acorn of light".  But Ravenna Diagram is a cat's-cradle all tangled up with Dante, among other things.  Here is today's report :

LATTICE-WORK

If we can shrink down small as Frisbee

the little leprechaun

from Arthur Street (in

Mendelssohn), we might just barely

wiggle through the lattice-work

of Erica’s Ferrara

cabinet (dove sta

memoria).  Such delicate

moss-green & gold!  Almost as bright

as your sea-iris – sun-

flecked, pregnant lens

of summer season (cave-light,

river-carved limestone... lakes

of glacier-deft sketches).

Time’s a yarn, that catches

history in quipu-knots.  Oak aches

for each acorn – the great light

diamondiale, that lifts

each person (infinite

è finit, unbreakable).  Slight

limp, unfinished manuscript...

slow clay, Mendelssohn

relief operation –

Berryman in Resurrection crypt

or Pound à Venice (perilous seat

in dolorous gondola)...

Dante sets down Ravenna

raven-feather (geste complete).

9.14.15

Tomb of Dante in Ravenna (courtesy of Wikimedia Commons)

Often the serious thoughts seem to arrive early in the morning, when I'm still half-asleep. I was in such a state recently, half-thinking about Erica Dorf, a dear lady of 88 (John Tagliabue's sister), who died on New Year's eve, and about what I would say at her memorial service, and these lines from Shakespeare's sonnet 116 came to me : "Love is not love/Which alters when it alteration finds,/Or bends with the remover to remove."

Here's the whole sonnet :

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:

 
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth's unknown, although his height be taken.

 
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom:

 
If this be error and upon me proved,
I never writ, nor no man ever loved.

- certainly one of the greatest love poems.

It got me pondering (lying there half-awake) in a vague way about several different things... first, about a distinction between modern & ancient, or romantic & classical, notions of love - which seems related, in turn, to very basic aspects of design - ie., form & movement, crystal & fluid...

The modern romantic (Aristotelian?) conceives of love as involving change, growth, transformation. The ancient classic (Platonist?) sees it, on the contrary, as beyond change : steadfast, firm, constant, right & true, eternal.

It's the ancient notion which seems less familiar to us. (& of course there are moral/social attitudes which follow from how we conceptualize love.)

I started thinking about all this in terms of theology & cosmology. When we read in the Bible that "God is Love" (letter of John), do we envision that as an attribute of the "unchanging Father of Lights" (letter of James)?

If you try to reconcile this older concept of Love with notions of creation & making, what do you arrive at? A notion of the Universe as finished, complete (even if that completion involves freedom, chance, perpetual changes). A crystallization, an end-in-itself.

& I guess these vague notions also have consequences for the artist. If you think of inspiration/creation/artwork less in terms of a sort of expansive Romantic afflatus, and more in terms of a sudden coalescence of disparate materials - a fusion of chaos into cosmos - the formation of an integral whole... - well, maybe this tends toward a sort of "classicism".

Again we come to this (traditional, Byzantine) analogy between nature-as-creation, and artist-as-maker.

But all this was triggered as I lay there thinking about Erica, who throughout her life, in her small apt. in New York City, was an ever-fixed mark - a small harbor of light & joy, for strangers confronting that vast, proud & sometimes intimidating metropolis.

What if reality, cosmos, life-in-general - what if this whole is a crystallization out of an infinitely-deep well of creative Love? & that Dante's notion of the proper direction of the human will-to-love - repentance, in other words - involves not so much a change or transformation, as a re-alignment of one's own small reservoir of love, with that vast infinite source?