they were playing Benjamin Britten

LEAF-MURMUR

In the peace & quiet of her little room

with cactus & late poinsettia

on the sill, she’s growing quieter

herself, just one step from the tomb.

They were playing Benjamin Britten

on the radio, his Moonlight

from Sea Interludes.  Slow

breathing, like tides come in;

the pulse of one high cresting wave;

flute-shrieks of gulls.

Her strong deep swells…

receding now.  She curls concave

into her wheelchair, brave head bowed

(the pride of life, brought low).

Her potter’s wheel, slow

spinning, rounds her own clay into cloud

as in the Garden of Gesthemane

all-powerful God

knelt to his own rough mud

fleshing star-fire to flinty harmony.

The wheel of life, how she runs down

at last!  This shadow of herself

feigns sleep, feigns prayer.  Only

the fleeting elfin smile remains her own.

Stalin, Akhmatova… terror & grace,

beauty & ugliness meet

in the grave.  A life’s complete

that hears leaf-murmur through a face.

3.5.20

oak-leaf plate by Mary R. Gould

rim of that heavenly Rome

COSMIC BATTLE

Inching back with my mother down

the nursing home hallway

from dining hall... hey ey

yo.  Keep her from falling (too soon).

Sprightly, amnesiac, brave.

We filtered burnt photographs’

international orange (‘70s

epitaphs).  Look – you still wave

from chilly distance, eldest one.

Your sister, brothers... your

father, meek & mild... War

obliterates peripheral vision, son.

Like game of hangman (simplified).

Figure out the letter

in the word.  Row, Edgar

Poe – enough rope be dangled

like that infamous platform

lifted out of season

like Francis from prison...

only to travel far from harm

along a single beam of light.

Real American creed

spooling through Voodoo

Queen Marie – gonna be all right.

Antithetical Poe held

his ivory casket

in a bird-basket –

row, row, coracle... spelled

               *

IONAH on the bow... over & out

for now.  The cosmic battle

between Caesar & that

measly songster (Stalin puttin’ Anna

into the hollow double-barrels

mimicking Utopia – everyone

happy in warehouse, hon)

becomes a set of Shaker castanets

or scallop-shells of Aphrodite;

– a skirmish in St. Louis

soars above Cahokia (she’s

us) into a supple Rimini-

design.  The poet, poison-pounded

pharmakon, cribbed out

his hazy Paraclete

in limestone layerings – founded

Apollinairy nothings on a pole-starred

pine.  Rose horizontal stripes

on snow led wayward ships

to Milky Way, somehow (the bard

might know).  Over the river E

(for equal sign) carry

me back to cosmic liberty,

Eurydice – united we are free;

like Sophie with P. della Francesca fan

loving galactic neighbors

stitch their laborious

light-canoe (twin Manitou of Man).

10.21.17

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 

a Jewish refugee

Welcome back to Henry's late-night improv.  Record cold in Minneapolis tonight (Keith Richard's birthday).  We see foxes, turkeys, deer, packs of coyotes, rabbits & owls in this neck of the Minneapolis metro area (SE, along the river, by the University, where both sides of my family have lived for the last 150 years).  A few blocks from weird John Berryman's last home (33 Arthur Ave.).

Advent.  The Messiah is coming.  A Jewish refugee, he nurses in a barn.

I myself identify with Shakespeare's dreamy, soulful, effete Henry VI (recast tonight on PBS - The Hollow Crown).  Wars of the Roses.  "We are two shadows cast by Henry's body", declares one conspirator.

Civil strife... was Shakespeare part of a fake-news, Tudor messianic cult?  Was Shakespeare Shakespeare?

Think not.  I perceive the Globe & other theaters were implicated with royal politics... yet echoed something older, something medieval (mystery plays).  The master plot of the medieval theater, of the Byzantine labyrinth, was this : all earthly political authority is subject to the King of Kings.

So when you listen closely to the Delphic pentameter strophes of the Bard, you can hear this parochial, medieval, local, humble, Franciscan, monastic, Dominican, scholarly, ancient, simple, salty, truthful royal whisper... something to which both Eliot & David Jones, in contrastive ways, were attuned... the sovereignty of the Son of Man.

There is a spiritual resistance audible in Shakespeare - isomorphic with Osip Mandelstam's "oath to the 4th Estate".  A resistance to the usurper, the tyrant, the oppressor - recognized by his fell signs of inhumanity : his lack of grace, his murderous ambition, his rejection of his own eternal soul (with its attendant values).  Shakespeare's Richard III (who wasn't actually so bad, in real life).

This is the straight redwood of righteousness... the prophets' vow.

I confess, the inner world of Henry is quite unique & strange.  The sleepy king, the drowsy infant, bobbing along down the stream of his milky entitlement (the barn) - mumbling calm platitude-poems, radiating ridiculous ease, contentment... & only very slowly awakening to his fatal inheritance.

Oh yes : we must confront these usurpers.

I speak not of the minor satrapies, the lotos-eaters in the provinces, the solipsism of the echo-pond.

The poet's drawn to his true rivals in the lists, the spiritual enemies of Man : the despots, autocrats - the Putins, Erdogans - the Trumps, the Kim Jong-Uns, Dutertes, Xi Jinpings - the Stalins, Hitlers, Pol Pots... all the honchos riding out of Hell.

They will attack you, oak tree - like the termites gnawing at the life-marrow.  & yet the Child-King nestles in his oak-leaf hideout...will prevail against all Philistines (both high & low).

He is Man, after all.  Advent comes on.  Epiphany.

down here on the ground

CHILLY BLOWS

A red-tailed hawk shows white beneath,

sloping high in the cobalt

blue – pivoting afloat

on air – freewheeling in the teeth

of chilly blows (from Canada).

Down here on the ground

clay thins to the grind,

shatters like ice – power’s arcana

plates a hard face on the mirror,

the barrel.  His scapegoat

brands our feet by rote,

his toothy mustache splinters the car.

In the cosmogram from Amen Corner

another bird hums

through dusty spokes – drums

emerald beryl-wings across your

grave circumference, Columbia.

Your adamant cheer, Mother –

whose fleet flute-font rings here,

rings there, rings over yonder... ah,

brave wings!  Braiding Ocean River

with an Esperanto-Roma

glossolalia

hums into the matrix – shiver

these bony timbers onto sparkling

shores!  Nested in Galilee,

a grafted refugee

on new-found land... thrush, darkling.

11.9.16

I wrote a few days ago about seeing Forth of July as a sort of counterpoint to Pound's Cantos. Forth of July is actually an enormous bubble of rhyme-joy... full of oddities... one of which is a minor thread raveling together Scythia, Sarmatia, King Arthur, Mandelstam...

& as I was looking around while composing those comments to Stephen Burt's piece, I came upon this Wikipedia entry.

The "Scythian" theme is real in Petersburg poetry. Blok has a famous poem , "The Scythians", on the advent of the Revolution.

Ossetia, and the Ossetian language, descend from ancient Scythia, which Herodotus called "the land of the Gerrhi" (see modern day Gori, in Georgia, focus of recent headlines).

Mandelstam set himself "like flint" against Stalin. The priest-kings are still battling for the golden bough in the sacred wood. One of his poems identifies poetry with the free, full-throated song of horsemen bringing children to their wedding. His Stalin epigram, on the other hand, mocks the "barrel-chested Ossete". Here's a passage from July, the 3rd bk of Forth of July :

 He spoke awhile   and was quiet awhile
 and I heard a Scythian golden horde
 thundering in the distance  drone
 of trumpets   pounding hoofs   the tinkling

  
 of tiny earrings   rustling gowns   robes
 awash with pendants jingling   so far
 so small now   in the infinite   raft
 of grassland   horsemen, sober

  
 bringing the children to their wedding
 with clear-eyed   innocent song
 full-chested   doubleyoudoubleyou   gone
 by   invisible now   up into the air   like dew

  
 toward a mound of earth   in Gerrhus
 in the land of Gerrhi   where clovers grow
 quatrefoil   one urn   one lucky seven   worked
 from soil beside   great rivers   &   one Suger-bee

I've been offering Rest Note read-alongs, so I thought I'd add some emergency obscurity relief comments on the section just posted (#14).

In line with the alternation/ABA/ring-structure I described in previous read-alongs, there's a link between # 14 and a previous section, # 6 (posted here previously, & also over at Alephoebooks).

The ideas cluster around the word "seal". In poem #6, there's an allusion to the royal seal which Hamlet used, on board ship, to outwit his uncle's plan to have him executed. The first stanza of #14 (see below) is a fairly literal description of the Minnesota State Seal (a farmer, plowing, looks over shoulder at Sioux horseman, galloping away). In the background here, too, is Stevens' great late poem, "An Old Man Asleep" - "...the redness of the River R").

Teddy Roosevelt, as recounted in the C. Millard book, dated his own powerful interest in natural history to a childhood visit to the NYC fish market, where he saw a dead baby seal on a plank (I think I've got that right).

So I'm punning on seal - as natural fact, curiosity - and as insignia, representation of authority. Nature (natural law) & custom (positive law).

I understand this is a huge stretch - I mean more in my head than in the poem, as yet.

So what do I mean by the "seal"? It's the "character" - the "type" (as in typesetting) forged by Vulcan (volcanic) fire. It's nature's mortal seal on the particularity of each living creature. Thus the subdued allusions in #14 to Hart Crane's poem "Emblems of Conduct", as well as to Wordsworth's great brief poem which begins "A slumber did my spirit seal". These are in the background here.

Lurking on another level are allusions to Mandelstam & his "emblematic" encounter with Stalin ("wolf-meal" - links an Old English lament & Mandelstam poem about exile; "'star' for star", etc.). The "House of Ice" in #6 is a kind of satire on tyranny as traditional political status quo. Nabokov also lurks in the poem posted previously - #13 (see if you can find him). What I'm groping toward, actually, is a rather Nabokovian notion of a spiritual otherworld, which balances "this" world by means of enigmatic, emblematic, writerly tokens, insignia (cf. that other Hamletian Stephen Dedalus, in Ulysses - "signatures of all things I am here to read", or so it goes, something like that...) (p.s Happy Bloomsday, JayJay, & H.C. Everybody).

(This Nabokov thing runs very deep in me. It comes, I think, from his strong influence on my reading when I was around 13-14. There is a kind of subconscious melding of the vocation of writer with the spirit of Nabokov in my mind : & that, perhaps, is the ghostly imprint of his "character". But I digress...)

There is a sort of continuum being set up between social power (the freight train & its long echo imprinted on the night), TR's presidency as a social symbol, and Crane's symbolic death (becoming "one with the fishes") - going back to the conjunction noted between the date of TR's emergence from the jungle, & the date of Crane's death.

The vague notion presented in these lines is that of a duality between the "body left with Calypso" and, on the other hand, the homing spirit of Ulysses. What remains of the body is an emblem (the "jasper bandolier") - which in turn echoes the "banderole" - the symbolic curtain dividing heaven & earth - mentioned (& noted in the notes) in the opening poem (#1).

It's obvious from these notes that I'm describing an ongoing process of symbolization, which hopefully will become more exact & clear in sections to come... then again, much of the iceberg, in my particular house of ice, remains underwater, implicit - & that's as it should be.

... SO, poetry reflects that special embodiment, that embodied freedom-authority... & as such the messengers of that special space often come up against the other authorities. Thus July, the 3rd of Forth of July, ends on March 5th, the date on which both Stalin & Akhmatova (avatars of these two distinct powers) died.

& anyway, all this providential history is a work-in-progress. So the unpublished history poem In RI deals more directly with Roger Williams & his unique state-founding. & this has been translated, wonderfully, into italian by Anny Ballardini. I'll be a Dante yet.

& what I mean by this "embodiment", in part, involves all these threads I've been tying (plowing?) between my rows of verse, and the "rose" of Rhode Island. Thus I first came from the midwest to this state on the merit of my college application essay, which was a group of Ted Berrigan (of Cranston, RI) imitations. & though my roots are in Minnesota, I've discovered a lot of family background right here. There's a little island in Narragansett Bay called Gould Island, named after Thomas Gould, the nephew of my gr-gr-gr-grandfather Zaccheus. Tom Gould was a friend of Roger Williams, & rented him a field on that island, for raising hay.

Shakespeare out of mystery plays performed on carts from village to village. Ethos. Poet & power : Westminster & Globe Theatre. (West Wig)

David, Bathsheba & the prophet's curse.

Stalin & Mandelstam :

("His decrees like horseshoes
flung at the head & the neck"

or something like that - the poem that got him sent to Siberia)

Heading to NYC this afternoon to see Elena Shvarts et al. at the Russian poetry festival, Lincoln Center. I hear it's sold out & I don't have a ticket. Hope I can get in.

Pasternak (very roughly): "Poetry - our ticket to the good seats."

Mandelstam was angered by that poem - he read it as complacent, considering the times & the conditions (Stalin). "The apartment is quiet as paper. . ."

so, until we blog again. . .

Blackstone was born on March 5th. He was buried on May 28th. Blackstone serves as the genius loci or presiding spirit, Henry's Lenten "shriver" (Blackstone was an Anglican minister); this is "Blackstone's Law". Book 3, "July", ends on March 5th. Book 4, "Blackstone's Day-Book", ends on May 28. The basic unit of Book 2, "Grassblade Light", is the poem of 7 stanzas, or 28 lines. The basic unit of "July" is the poem of 28 stanzas. 28 is a "moon-number": silvery, reflective, hermetic. The structure of Forth of July is built on 28 and 29.

Both Anna Akhmatova & Joseph Stalin died on March 5th.