Showing posts with label Good Friday. Show all posts
Showing posts with label Good Friday. Show all posts

4.10.2020

Good Friday in Wales



MEDITATION ROOM

My mother’s late twin watercolor
(Bardsey Island, 2002).  Dark
room, light room.  Look
through the window to the cemetery –

crumbled walls in Wales, a stony cross.
Pale green as early April
outside the infirmary – still,
fresh, frail.  Her final brush with grass,

her hopeful air.  The Boanerges
were the Sons of Thunder
redheads, most likely – Dioscuri
in their scarlet robes – woodpeckers,

Thunderbirds (like my two redhead brothers).
Dakota found him on the earth
near Red Wing – red-feathered
Thunder-Birdman (portent for Little Crow).

Thunder-&-lightning were one mighty Bird –
a firebird, roaring crimson.
Fire-flinging wingèd one –
a Persian peacock (Rhody Red?)

or Phoenix, soaring like a rainbow
from gray winter ash.
Woodpecker, with his calabash
tap-tapping oaks for golden honey-glow

Morse codes the closing of an Iron Age
& restoration of that Paradise
the Son of Davy Jonah scries
from his doom-rood.  Just turn the page,

                    *

he cries.  Along this feathered spine
where all the leaves are bound,
your legend of Twin-Town –
refuge for sacred monsters (in a pine

grove, under Ariadne’s Crown,
northward of everywhere).
The holy child of Mary
is such a singularity.  Scapegoat-twin,

divine-human, he will dethrone the kings
with goldenrod of charity;
rise from his bed of cruelty
with flames of sunflower – with Easter wings.

Just beyond my mother’s watercolor
David Jones grotto, I glimpse
tall flickering cave-nymphs…
a moonlit retina (of temple vault, pillar).

Twin rooms, of light & dark, enclosed
(like matryoshka dolls) inside
each other.  Casket-scaffold
for a model ship, perhaps?  Micòl's

canoe?  A meditation room
for mourning Magdalen.
Through tears of rage… vision.
A ragged almond tree, coming to bloom;

immense pressure of gravity, around a shell;
the coracle of wounded heart
lifting as purple columbine – a spurt
from humming bird-nest (thunder-sky-well).

4.10.20


4.19.2019

Good Friday poem




AMBER GLASS

The oak we put into the ground
last fall is budding now.
& on the third day... how?
On this I muse like Uncas Pound

here in my octagonal hut
of scrawny cedar. 8’s
for Easter, numerates
relate – Creation’s è finit;

when the dark goggles of infinity
stood upright (a snowman
merging into green
spring cloverleaf).  Might be.

They say they saved the high windows
in Paris.  Where simple light
grows warm, exfoliate
around the Lady of the burning Rose.

Wheels, wheels... the suffering peoples.
Is Providence intangible?
Life but a negligible
haze, wisping stark silo-steeples?

These sprinklings of amber glass
are darkened with maroon
shadows.  Limbs of someone
hovering so close... a beaming face.

Then I shall know, even as I
am known.  Even as
this acorn opens, grows...
sturdy communion of a melting sigh.

4.19.19

7.01.2018

only Osage land




WHAT SMILE

July... all the baby flags.
Every bright young lamb
tuck to torment in Vietnam.
Lyndon moon-face – how it sags.

Hubris... alien, demonic force
unhinged from humility
(vomitgreen parrot pity).
Folds bomber-wings in remorse

after all.  Neither national
nor international;
only irrational
(November’s double coronal).

I’ll finish off this work in progress
now, Columbia –
OK?  Oklahoma’s
only Osage land (but I digress).

& poetry?  Is just a conversation
among singed beans.
You joint it, Henrythin,
to ease U-Haul into elation

(somehow).  That OK.  The heart
is made of meleki limestone
(royal).  43 lamps shine
down upon them groove.  What

now, Henry?  What hum?  What ghost
flit as yum turtledove
‘bove fry Friday pirate cove?
What smile lightum up (coruscant host)?

7.1.18

4.14.2018

spring crucible



ASPHALT PATH

Yesterday your birthday, Papa.
92, mild ghost.  Sun-wheel
set at Swan Point... seal
of a woman’s self-extinction.  Ah,

woeful calendar (Coatlicue).
Strife of father & son.
Friday black sun,
aboriginal sin (hey ey

yo).  Here in Minneapolis
snow, interring April
in one wide hexagonal,
preserves a buried man in ice

(Resurrection Cemetery).
Henry ascends the asphalt
path from heart’s tumult
to frozen Father of his Country.

Washington Ave. Bridge.  Yet
(wobbling, wavering
within your shadowy
ring of flame) – dawn’s pale promise!

Man’s faithless diffidence his own
life sentence, we
depend upon your mercy
to raft us into Libertas again –

mysterious Jonah in the “33”
(Mars’ den) whose hum
breaches delirium,
wind-bred to share (Nazarene glee).

4.13.18

4.14.2017

in the still life


OKIE CHAIR

In the still life, when the sun goes dark
the absinthe green on the old
wooden door (color of mold
or holm-oak acorn).  In the park

by the lake, the sparse grass wakens
to an April sun;
& you remember someone
battling the ice (forsaken

minstrel-king, nazir).  A buried man.
Some twiggy unknown soldier –
stranded black-gold heir
thread-spun beneath Stalin hardpan.

The butterfly’s a Morpho blue.
Blue as Siberia
in winter, da (selah).
Listen : Quartet 15.  For you,

Nadezhda.  You, Natasha.  Through
& through.  A nature morte
très fort et dur.  Part
rags, part soft shoe, Corporal Goo;

part forever, like Francesco
dropping all his duds.
Back to his father (odds
even he’ll marry her, you know).

There was a war in heaven, in
your heart, your mind.  Jesus
the Rabbi snowballed thus –
blackballed in Memphis – sharkfin

                  *

razor between Hell & Paradise.
They call it history –
a dime store mystery
(Elsie in profile, in an oval vise).

It’s only poetry.  Someone will pay
for it, eventually
(Harry Hawk, maybe –
Our American Cousin).  A splayed play-

stub (Miss Understanding
Under Study) stuck
on a crossbar (Buck
Stops Here).  Eagle Has Landing.

Davy in the Detail.  Film roles
for everyone – all which is
inheres... Macbeth, Cortez....
Universe is empty (full of holes).

Must be that woodpecker, prying
for a worm – the dry mast
puckering (will never last)
to kiss the lightning (scrying

from a crow’s nest now, Cautantowwit).
Whittling toward Arthur Street
in Mendelssohn (complete
symphony to be determined).  Sit

down, Henry, in your Okie chair –
the nave is full of light.
Acorn shines bright.
The Rite (à Paris) is a sweet nightmare.

4.14.17 

4.13.2017

green buds are just -



TROMPETTE MARINE

Giuliana opens a ceramic shop
on Ravenna back street.
The “Old Man of Concrete”
surrounded by gray pots of slop

paints himself into a nearby corner;
Giuliana’s little boy
paralyzed (Guillain-Barré?)
plays with his yellow gyroscope.  Her

lover mopes, lost... (ambivalent
professional).  Red Desert,
Deserto Rosso.  Hurt
blooms in the sea-salt spring (Lent...

Easter).  Lofty kind eyes in shadowed
stone (Pantocrator, &
Theotokos) still stare down
from hollow warehouses (A.D. 600).

Green buds are just emerging here,
Psyche, Persephone
in center of the country
(Center, N.D.).  Land mass, a sphere

from sea to sea (theoretically) –
a glop of potter’s clay
in solar roundelay;
Palm Sunday to Good Friday (bloody

travesty, Ford Theatre).  Then
the turtle at the finish line
emerges from the brine
reborn – Rabbit in acute cartoon

(Metamorphosis at Minnaheehee
Falls).  Dante, Beatrice
step through the sun (hey
ey yo) astride Dakota prairie

hoisted on stray lambswool thread
like Vallejo’s poncho
(wheat-gold Paris gaucho-
robe)   or galactic Temple shroud

woven from smoke of calumet
& Camels   (veteran
Guillaume   a crimson crown
swathed round his beaming pate)

so Theseus & Ariadne   circle-dance
the gold pavement   grey Chartres

                   *

matrix   womb of silence
&   clear light   joy of the makers

On an upward path, the labyrinth
becomes a spiral, &
the Minotaur’s command
the envy of a shadow (absinthe

green).  Your quipu-knot records
an anchor weight – the rings
of one stone, tempering
the river-sweeps... only soft words

like flute-sounds, scattered seeds.
Stricken Giuliana,
limping hopeful Natasha –
Nadezhda, too – resilient reeds

walk in solemn palm procession
round the sea-wall
& the sparse green hill;
the bald truth of clay   passion

& its aftermath   high keening
sea-bell   through   seraphic blue
the ultramarine   (Pacific
hue).  Jonah   always coming, going

always being born   out of the waves
of infinite agape
lifts old sails   away
for Columbia   & Liberty   she waves

the light torch   over homely harbors
mangers of refugees
fleeing plaited Caesars
(their cracked saucer seizures)

as the integral of   furnace fiddleheads
the deep-sprung source
of Everyland   smokes Morse
code goodness   penetrating sadness

like undying Hope   into the arms
of Osip   or Goldie the Finch
your friend   in the clinch
of Hart’s woe   John’s alarms

the desolation of a lonely child
a hearth-star   shines for her
the safety net   saves her
Love blazes from the center   wild

onlie-Begetter   mild   trompette marine

4.13.17

4.18.2014

Breakdown, break through

Just after noon in Providence, Good Friday.  Why "good"?  Old medieval usage - like saying "Holy Friday".

Have been reading Eric Santner's interesting & concise book, On the Psychotheology of Everyday Life.  An exploration of shared territory of Freud and Franz Rosenzweig (Star of Redemption) : offers a defense of Judeo-Christianity in terms of very contemporary, postmodern psychology (by way of Emmanuel Levinas, trendy thinker Slavoj Žižek, scholar Robert A. Paul, & others).  The basic idea (greatly oversimplified here) is that this ancient monotheistic religious culture(s) is not, as some have argued, an ideological engine of exclusion and inter-cultural conflict - but rather represents a pathway to psychic liberation, working through the psycho-ideological complexes and learned/subconscious behaviors that trap us in patterns of alienation, dehumanization, objectification, etc.

(I come to this kind of study with some skepticism... often the refined and technical psychologizing seems to over-complicate matters which should resolve themselves in simplicity (how to love God, how to have faith, how to love others).  Yet again, though... Santner's arguments are cogent, and these matters are inherently complex, as well.)

The center of Santner's thinking (as it seems to be of Rosenzweig's) is this tradition's welding together of the love of God with the love of neighbor.  You can't have one without the other.  But Santner, with Freud & Rosenzweig, looks beneath the obligatory, learned patterns of social ethics (the realm of the "superego"), toward a concept of the irreducible individuality, the singularity, of the person : rooted, not in some idealization of "personality", but in the self as a solitary embodiment - singled out, specifically, by death.  Countering this condition, and its angst (the knowledge of death), Rosenzweig sketches a concept of God as intervening in the midst of present life : as bringing about a transvaluation of the terms of existence, through the force of love.  Santner's/Rosenzweig's "love" is not some vague cosmic charity, but rather a passionate demand that we love God - personally - in the same way that God calls us by name : calls us in our singularity, by our proper name.  In the same way, we encounter God personally - insofar as we encounter our neighbor in a condition of complete "soul liberty" (Roger Williams' term).  That is, the encounter involves an acceptance of the other as completely other - as free, as strange, as idiosyncratic, as driven, as eccentric, as outcast as this neighbor may be.  Santner replays Rosenzweig's sense that our relation with God and neighbor has to move beyond the "third person" formulae - the abstract systems - of traditional philosophy and theology.

The "folk tale" quality of much of the Bible lends itself, it seems to me, to a sense of God's "impersonations".  This has often been interpreted as primitivism, as childish anthropomorphizing.  We are supposed to look beneath the husk of the fairy-tale allegory of God's personal acts, for the hidden spiritual/philosophical fruit. This is one way to read the Bible, and it has its own venerable legitimacy and interest.  But another way to read is for the inherent narrative/dramatic thrill itself - as a verbal approximation of an actuality which in itself is inexpressibly real, dramatically intense.  (This, by the way, is also how I understand poetry in relation to other modes of discourse.  It is our most vivid verbal approximation of living actuality.)

Santner, clearly, is re-interpreting issues that have been debated for thousands of years, both early and late.  They are not new.  And my rehash, here, does not do him justice (I make it sound too familiar).  But as I read his summary of Rosenzweig's theology - the idea of divine "revelation" as something that breaks through (in a traumatic way) the patterns of the world and calls us personally, by name - I'm stirred by echoes of my own (traumatic) experience.  It rings true for me.

I've written many times on this blog about my "Shakespeare event" of forty years ago.  In Santner's psychoanalytic terms, it was a kind of breakdown, a surging up of unconscious forces.  It was also a pivotal experience for me, a complete and lasting change of direction and consciousness.  And it was an uncanny crisis of being called by name. (This earlier post touches on it... if you search the blog with "Shakespeare" & "sonnets" you may find more.)

Happy Easter, everyone...