pokey asphodel

SMOKE-TREASURY

That the diamond exists, murmurs Black Elk

justifies your dream.

Octahedral theme

of orientation by humility (MLK

& JFK meet in your mandala-canoe).

As Roger the Seeker christened

Providence a refuge, at the end

of seeking (for beginning anew).

To model the heavenly kingdom of God

in clay, or dusty speech

like a doorway, or Gateway Arch;

like rose mandorla, made of flesh & blood.

Not city on a hill, but village

in a valley, by the river’s

mouth – one Narragansett

giver’s canonical Key into the Language

of America.  That the diamond exists

justifies your dream

in shades.  Mandelstam

(in Pushkin & Scriabin) writ of this –

because the Redemption has already happened

art is set free, to celebrate

(watch Oscar Cullmann adumbrate

this meaning in his diagram).  The End

is the beginning.  Not that the end has come.

Only interrogate

this blistered heart

to find that smoky rite of Eastern Rome

                   *

spring in the limping step of herald Hart

or the epileptic anguish

of poet Prof. English

Berryman (in his hexagonal ziggurat

of Resurrection Cemetery – over the river

from St. Paul).  Come home,

patters that silver stream

from crane-bone flute (archaic sliver

flinting mica, in Cahokia); a raven

laughter diagram

or Bluejay paradigm

or Jonah-dove conundrum (rune haven);

a sweeping cry out of Cautantowwit’s

smoke-treasury; an answer

for yon affectionate peacemaker

when he crawled into the Narragansetts’

welcome-tent.  A smile (ineffable

as that 6-sided snowflake

traced by Black Elk

over the grave of Buffalo Bill).

All this intricate nautical geometry!

– these asides by Hobo,

his obeisance to Venus (Virgo-

ascendant sunset cemetery) –

is just the flimsiest balsa-wood scale model

of an Old Ironsides ark

or Constitution… spark

for Gravesend dancing-floor (pokey asphodel).

3.11.20

ineffable seraph of the boomerang

BOOMERANG-SPUN

Love is the curving frame of things,

the flexible woven logos

of the safety net – bamboo’s

swerving embrace the sculptor brings

to public squares in São Paulo

(Alison Grace Martin).

Thus, in Pushkin & Scriabin

Mandelstam spoke of an eternal ritorno

fresco’d in the alcove of Redemption –

earth already redeemed

& art set free, beamed

through spirit-webs (boomerang-spun)

                       *

until the world becomes a nest or den

prefigured in those icons

limned for all seasons (our

pre-existent & imaginary friend

who nevertheless walks upright, smiles

& calls us by our name).

The rays through the cranium,

holes in the hands... Earth’s exiles

sense the time-scent of eternal ends.

& so the sign of humble dignity’s

grandfathered to eternity –

the nest feathered with wings, my friends.

10.17.19

the stubborn Acmeist

AMERICAN THING

The way a stream flows around a piece of granite

rough gray in the water, winking

with rose quartz, mica (splintering).

So the stubborn Acmeist would honor that

which is, that which exists.  & Osip

would agree with Oscar Cullmann

as to the meaning of Redemption –

it’s already happened.  So right worship

is a thing of joy – ample gratitude

for being, & the hope

of Restoration (its full scope

a celebration, braiding bread & wine).  You’d

barely sense the almost-infinitely distant

echoes of a first Thanksgiving...

everyone hoisting something

to that scrawny picnic table (ancient

light).  So as we J-stroke forward

let’s return to New Orleans

with B. Latrobe, who kens

the old French buildings there (mired

in mosquito nets & drainage swamps);

where he will follow his own son

to his malarial grave (one

body, bread & wine).  Under yellow lamps

like fireflies in the harbor (swaying,

soaring).  Scintillant mosaic

for one lugubrious Republic

(hopeful, Creole).  Clay American thing.

8.6.19

all caw-caw raven now

SPELLING BEE

The fire in the hearth of heaven & earth

is a quipu-knot of flame.

& she plainly a gamin

hide-&-seek – May den o’ pent-up mirth?

Jonah Noddy Ark? – in the canoe

all caw-caw raven, now?

No way.  Anyhow,

Hobo followed her, down by the slough –

down by the Mississippi, see.

Henry’s late hideaway,

in salty snow.  Say,

Osseo, if yuh know – why done the sea

surge through them limestone banks

outem prehistory?

For water tower, maybe?

Could be.  Manitou-Give-Thanks

stood up to Minna-Tor – locks in

him cowrie-eye – him

fastens agate rim

(candled Ferrara hexagon).

You lose the thread... but it can

hear you.  It co-hear.

Her lip sweeps very near

your ear.  One sad revolution

                   *

           *              *

                  *

vaults the lead-yewn atmosphere

into a convolution

of suspended animation

(catenary star... a Feininger

prismato-chanticleer).  Agnes

would understudy.  Martian

cross rude centurion

snores through Easter-eggness

of yewnevaverse... dream-songe,

Apollinaris.  She

your crash (& Povertà).

We lifted nothing halfen so strange

as vinegar & gall a pain a spear

up to him lip... who, Mona?

Uncle Djinn?  A tuna

fork.  Ev’rychile skip scotch, here.

It OK if you messed up the lacture.

Alethea in the hoax tree

won the spelling bee

(“hollow” begin w’ H – sure).

& the earth was specifically grave as

death, salt... & Henry

Rustypin.  Ternity,

O Ternity! – that our bi’ness...

It a personal store.  Your steel soul

yearn for light, like a clam

pine for raven-shiv... Am

brother Sundial, sister Maryknoll.

1.8.17

Rock Candy Neva-Neva trail

LIMESTONE PROFILE

The little white cabbage moth

& the dragonfly, following

Hobo down his bumbling

Rock Candy Neva-Neva path

beside the river.  Past the bridge

nearly finished, almost

restored... some ghost

dance out of Petersburg (knowledge

from chaste vision – redemption

blooming like a morning

glory – everything trembling

at the dawn of time – the Galilean

tacking in the wind across the lake

zigzagging like a monarch

slanting orange-black

over sumac, milkweed – to be forsaken

& his cup to take)...  So the dream of a girl

is the grail of a dream, when

startled Magdalen

beholds him (where fern-worlds unfurl).

Like a fiddlehead figurehead, a nettle

Beatrice, the dream ramifies;

what was there always

unveils, the whole sweet kernel-coracle –

as Hobo finds his bearings in the smile

of a limestone Ursus profile,

in the lofty Milky Whale

of a firefly Jonah (rainbow trail).

9.6.16

A nighttime sun

If my own experience in poetry is reflected in, or has any bearing on, the common culture of our times, then I would have to insist that the obscure mirror or skeleton key to understanding our times is to be found in that obviously & oddly unfinished fragment of an essay by Osip Mandelstam, "Pushkin & Scriabin".  It was first published outside Russia, long after the poet's death; but scholars believe it was written about a century ago, probably in 1915.

The unfinished character of this text is like an open invitation -  pregnant with future (exploratory) life.  It's been for me what they used to call a touchstone : a word, a gospel, a message - a voice that keeps coming back, recurrent, at unpredictable intervals.

Mandelstam is writing about Pushkin, and about Scriabin - but the words are prophetic in their weird self-portraiture.  He himself is foreshadowed in Pushkin's & Scriabin's exemplary suffering.  "They served as an example of a collective Russian demise, they died a full death... their personality, while dying, extended itself to a symbol of the whole people, and the sun-heart of the dying remained forever at the zenith of suffering and glory." [tr. Sidney Monas]

This is only in the opening paragraph!

M. sketches out a symbiotic contrast between the two culture heroes, with Scriabin as a sign of Russia's cultural regression from the wholeness and integrity of the "Christian chronology".   Pushkin is the perfect icon of an "encrypted" Christian sacrifice for the whole people; Scriabin is the sign of its dissipation or betrayal.  Yet watch how Mandelstam refuses to descend into some kind of elegiac complaint!  He himself is enmeshed in both Pushkin's chaste clarity (the whole essay is rooted in prior Acmeist insights & formulations of his martyr-friend Nikolai Gumilev) and in the "Hellenic" (revolutionary) frenzy of Scriabin - the Dionysian element of the Greek dyad (Dionysus/Apollo).

But the substantial, the quintessential nectar embedded in this garbled fragment is sketched out in Mandelstam's vision of the relation between Christianity - as the fulness of God's free & loving redemption of the whole cosmos - and the soul and personality of the individual artist.  It is this "logic" of soul freedom and integrity - again, foreshadowed in Pushkin and Gumilev in particular, along with Akhmatova, Tsvetaeva, Nadezhda Mandelstam, so many others - as actually a result of the divine gift of free grace & redemption - which, for Mandelstam, explains the vitality, wholeness, and integrity of Western art in general.

"Christian art is free.  It is, in the full meaning of the phrase, 'art for art's sake'.  No necessity of any kind, even the highest, clouds its bright inner freedom, for its prototype, that which it imitates, is the very redemption of the world by Christ.  And so, not sacrifice, not redemption in art, but the free and joyful imitation of Christ - that is the keystone of Christian esthetics.  Art cannot be sacrifice, for a sacrifice has already been made; cannot be redemption, for the world along with the artist has already been redeemed."

"What then is left?  A joyful commerce with the divine, like a game played by the Father with his children, a hide-&-seek of the spirit!"

Mandelstam does something here akin to one of his 19th-cent. heroes, Chaadev.  He distinguishes clearly between religion and art, in order to illuminate the actual relationship between the two.

"Nourishing art, giving art of its flesh, offering it in the way of a sturdy metaphysical foundation the most real fact of redemption, Christianity demanded nothing in return."

This is a very fascinating formulation.  But for contemporary Western culture, it sounds like some arcane, indecipherable mathematical equation.  This too, however, is foreshadowed here (Russia has a strange way in general of foreshadowing & echoing cultural phenomena in the West).  Mandelstam talks about the contemporary regression from "the Christian calendar", the sense of history under the sign of a metaphysical Redemption.  There is no spiritual light at the end of the tunnel.  We have forgotten, or forsaken, or bowdlerized, the pure affirmation of the message upon which our culture was built.

"O ye of little faith!  Verily, if you say, lift up this mountain & toss it into the sea, & ye have faith, it shall be done for you!"

What is the meaning here?  It is not to declare that any one of us can perform weird magic tricks at any time of our choosing.  It is to say : The Son of Man is coming with Power, on the clouds of heaven.  The Earth has already been redeemed, by the manifestation - the incarnation - the sacrifice - & the heroic victory - of perfect Love.

This is a kind of pure Christian Classicism.  It can be heard in the taut moral scales of Shakespeare.  It can be heard in the ineffable organ-music of Donne.  It can be heard in the melody of Andrew Marvell.  It can even be heard lifting under the anxious heartbeat of John Keats.

It's that to which Wallace Stevens alluded, perhaps unknowingly, as his desire to celebrate the "normal" (a hard thing to do).

The world is not "normal" now.  The world is undergoing the symphonic stress of global birth-pangs.  Yet the Redemption stretches out the warm spiritual hand of healing, reconciliation, sanity, wholeness, integrity, hope, joy, freedom & love.  The structural harmony of the world is - the Redemption itself.   This metaphysical-historical fact, according to Mandelstam, is the substance of the "poetic license" of artistic freedom & truth.

America has in some respects lost sight of its own cultural inheritance.  The arts, and society as a whole, are overwhelmed with a righteous, judgmental, Puritanical fervor - splintered into multifarious factions, partisans of subcultural identifications.  The soul seeks some kind of moral justification : but it's an anxious, deracinated search, akin to the Dionysian frenzy of Scriabin & the revolutionaries of 1915.  God is playing hide & seek; but no one knows where to look for release... & yet...

"I shall be released."