Hobo's New Year Address

VENETIAN GALLEYS

The gentle adagio of these

yellow butternut leaves

like Venetian galleys

cantering down into the grass.

The slim ribs & spine of each

a gilded replica

of that emerald armada

still tethered to its summer beech.

Prophetic microcosm, georgic

farewell speech.  The poem

wavers down to home

so... some big moody Amerique

or bottomland Berryman mound.

Hobo will mutter her.

He misses her forever

sunk by fratricidal wound.

We cannot remain free unless

we recognize each other

in ourselves, bro – so your

Uncle George cries in the wilderness.

Hobo would touch the iron swing,

its rust-corroded spring,

chi-rho, chi-rho.  Wing,

Raven, down to Mexico – sing

autumn’s monitory mirror.

Minotaur must turn anew.

Like Rosh Hashanah, you

shall too.  O Planet, hear.

9.21.17

just beyond my window

John Gould (U.S. Navy) with root beer, Minneapolis, ca. 1946

DEEP BREATH

September crickets in the darkness

just beyond my window

harping seasonal sorrow

elegize their summer quickness.

Cassini in her pure remoteness

plunges through the rings

of Saturn.  Airy things

(that fiery opera house in Venice,

flammatory lance of Beatrice)

coalesce toward autumn,

build a nest of flame

for rangy Thunderbird (eagle-Bice).

& is it only Ouroboros?

Boreas, recycling?

The ancient iron swing

Granddad assembled (90 years

ago) still creaks its aching 2-

note plaint (see-saw,

curse-us)... as though

the Iron Age were never through.

Someone must bear it all (above

rusty Titanic murk).

My father squared his cirque

on his last day.  His eye on Love,

one grip in mine, his other hand

traced a clear circle

over that whirl-debacle

with one thin finger... with one bound

                  *

beating the bounds of that vast realm

where Jesus & Black Elk

go roamin’ (with Melchizedek).

& if a 6 turn out to be 9... at the helm

6-wingèd seraphim feather the font

of Holy Wisdom.  Little well

of do-well... purling from hell

of trompe-desire, of chaine-ressentiment;

Alighieri’s checkmated yearning

tree-hum-yuled to heart’s

lightness... O sullen art’s

deep-harrowed aim – O desperate learning!

When men fall into Minotaur’s embrace

& Ariadne’s thread

snaps at the nail-head

one slight Rabbi-hair, O Falcon-Ace

might lift you from the corral waste

into fellowship

of Primavera soul-skip;

where lovely Manto-lips taste

intelligible everlasting bliss –

a porpoise laughs at death

& with one deep breath

huffs cobwebs off God’s gold telos :

that gardener of souls at dawn

lifting a toiling Job-

of-all-work by his nob...

Rachel out-sailing Ahab... Queequeg’s fin.

9.14.17

peregrinations of a chair

EQUAL SIGN

That blazing Paradisal throne

at apex of the Rose –

for lucky Henry, Dante’s

messianic king (whose arbitration

disinterested, just & fair

may foster restoration

for acerbic nation)

is not much like this baby chair

Sophie brought from Providence

its bright red plastic beached

in Minneapolis (porched

beneath a cedar octagon of silence,

anonymity).  Vertiginous

encompassing domain

of spiritual Zion...

that firmament Moses, Aquinas,

Aristotle wrought in brazen

ineradicable raven-

ink (the prophet’s organ-

groan, the scribe’s deep acumen)

out of the ghetto of Venetian

copper foundry, lifting

moss-green Liberty (sing,

Lazarus, your stormy consummation)

into wave-bent infinite prairie –

a horizontal plate

caressed by grassland fate

beneath high snowmelt of Persephone

                *

& Evening Star (ineffable complete

coniferous oak tree

whose almond amie

très jolie spreads acorns at her feet

into an ancient corn-maze wheel)

– O Henry, where’s

the seat of these empires?

Your throne’s only an acorn peel –

your realm a plastic kiddy chair.

Raven zigzags the gazebo –

traces Incan shadow

aslant cornices inscrutable (& bare).

Eagle or condor even higher.

Pure air (transparent)

laves the fundament.

An equal sign grounds every choir

in Lincoln-logos (quipu-fire).

Chaste diamond of snow

& Black Elk’s slow

Wakan Tanka (Vallejo-spire)

turning every way.  You’ll see

the back of me, until

you recognize Good Will

I Am.  In Red Wing country,

where grey Thunderbird came down

to meet his Galilean

twin – the two-in-one

Tom-Tom, guest-dancing (holy clown).

7.5.17

Rose Island Light

HIGH C

Hobo takes his descending path

sloping to the great river.

What can he give her,

steady Delta Queen, to stanch the wrath?

Past frigid walls of enmity

feathered with graffiti –

a rust-red major C

like an iron magnet... Rimini

or Cleveland?  Venice, maybe –

where the blind king lies,

his crazed hawk’s eyes

closed (petrified) beneath the sea.

The crane dance of the manic poets

circles the salted harbors

of the Gulf.  The Earth bears,

pining, their smoldering caskets

toward one windy maelstrom-vortex –

matrix of Rose Island Light.

Human massif, beaming bright

rotating manna-sun, whose Artifex

is spoked with rays like peacock’s eyes;

radiant Ancient of Days

out of the heart of praise

within a ring of living creatures

breathing fire against the cold

accidia, the starved

& shriveled souls carved

with the scar of Queequeg’s mappemunde

                   *

the raven-star, the midnight sun.

& the Nazir of poets chants

one Galilean entrance –

lacustrine circle, Aquarian –

out of the sea as rapt Columbia,

planetary bird of clay;

cloud-shade of Day

for restoration of Terra Incognita.

Hobo beheld this mighty mandala

like a rose wheel of limestone

light, through human bone

& muscle, limbs & ligament, figura –

tattooed by Piero della Francesca

as a mirror for your glance –

as Miriam in moody trance

harbors the light ray’s umiltà.

Like the Hart of Marsden Hartley

in a rose from the sea,

in a sea-knell’s 33,

out of the sunken chest floats free

the vision of immortality –

Love’s salty clarity

spouts from the clay

enchanted unison, octave’s high C.

So Hobo lay in his muddy riverbed

south of St. Louis.

His clay revolved; his

turtledove hummed overhead.

2.28.17

Venice - Rimini - Ravenna

BLUE MARBLE

The lattice-work of Ariadne,

barely (in my crepuscular

History Theatre) there.

The river flows on, over yonder –

Eridanos, Mississippi, Po –

moving past this osier

excellence of rare

dear Dr. Wise.  Minerva, Virgo?

Beatrice, Julie Littletree...

Maggie... Miriam

of Bethany, or Bethlehem...

limpid over hopscotch Sally

gallivanting crost her vaulting

Paradise of glimmering

frater Pantocrator (wing,

knave, to that sheepfold ceiling).

Meanwhile my double creeps along

like Ezra the Venetian

Blind, touching the stolen

Rimini passage with an aching

brow; beyond his haunts by the canal

& sibylline bone-staves

Franciscans hid in caves,

a living shepherd leaps the wall

(disguised by Ariadne’s woof).

These corridors are spongy

depths.  So take the plunge –

blue marble veins Vitale’s roof.

3.22.16

What thou lovest well

Have been reading about art lately.  Adrian Stokes, author/artist, fused a psychoanalytic approach (via Melanie Klein) with a deep knowledge of Renaissance sculpture & painting.  (Came to this discovery by way of a stray tweet by Jeremy Noel-Tod, about a Carcanet book he had edited, collected poems by R.F. Langley, a British poet much influenced by Stokes.  All this has been delightful new territory for me.)

It has some relevance to my latest unrealistic writing project, Ravenna Diagram, which has something to do in places with triangulating Venice-Rimini-Ravenna.  Ezra Pound is buried in Venice; Dante is buried in Ravenna; and both Pound & Stokes were fascinated with Rimini. (I guess they also crossed paths at some point.)

So these recent preoccupations of mine coincided with the latest ISIS atrocity in Syria, the murder of Khalid al-Asaad, longtime director of antiquities in Palmyra.

Asaad's devoted life & iconic death reminded me of some remarks by Russian poet Osip Mandelstam, about how a person's death somehow sums up and defines their life.  This was certainly true in his own case : Mandelstam died a victim of a personal vendetta by another Osip (his evil twin), Joseph Stalin - after Mandelstam had written a brief satirical poem featuring Stalin as its target.  Not a prudent thing to do in 1930's Russia (nor in today's Russia either, as a matter of fact).  Yet Mandelstam had a commitment to something beyond his personal survival.  As did Khalid al-Asaad.  This is perhaps the "true" form of martyrdom, which, unlike the standard model popular today, does not require the mass murder of innocent bystanders in order to achieve its glorified apotheosis in Paradise.  No, you only have to give up your own life.

Melanie Klein's neo-Freudian psychology focuses on childhood development.  The personality of the  infant & very young child is shaped by a dynamic & dramatic relation with the nurturing & distanced mother : Klein (& Stokes as well) reads deeply into adult experience grounded in this primal & primary & ambivalent/conflicted relationship.

For Stokes, art presents models of human victory & plenitude, through the integrations of these subconscious conflicts by way of the hard-won justification of the beautiful (the work of the artist).

In view of some such angle of vision, the depredations of ISIS against anything that threatens their "control of the narrative" comes across as the panic of the child who has rejected his mother.  Maybe Judaism & paganism & Christianity, the whole Syrian melting-pot out of which Islam emerged in the first place (in about the 7th century) comes across as a subconscious feminine threat, from the vewpoint of fundamentalist (Saudi, Salafist, ISIS) Islam.  I don't know, maybe ISIS is frightened of the Jewish mother against which it has gone to irrevocable war.

Judaism and Christianity have also fostered similar strains of iconoclastic rejection of art and images. After all, one of the Ten Commandments prohibits the making of any "graven images" of Yahweh.  The idols of the pagans, in the eyes of monotheism, are regarded as wooden follies of darkened minds.  Scriptural Puritanism rejected medieval Catholicism on similar grounds.  ISIS simply takes this direction to its "logical" conclusion : all art is verboten, all art is from the "infidel".

I wonder what images they see when they sleep at night, if they are able to sleep at night.  Do they ever see their mothers in their dreams?  Or perhaps they glimpse fleeting snapshots of the mothers of the "kaffir" young women they have enslaved and violated?  Maybe they don't need to sleep.  They can thrive, momentarily, on their canned & indoctrinated daydreams of paradise.  Livin' the propaganda dream, courtesy of their cynical Ba'athist warlords.  (Ba'athism, by the way, modeled its modus operandi on Stalinism.  Stalin was one of Saddam Hussein's heroes.)

My own particular confessional tradition has to do with the Incarnation, the appearance of God as Man, in the body, in one particular place & time - so I am inexorably committed to the idolatry of physical timebound mortal earthly existence & all its consequences.  This does not put me in good stead with the extreme iconoclasts of whatever theological persuasion.  I would rather stand with Khalid al-Asaad, devoted as he was to some local piles of classical statues & pillars & broken ancient ruins.  His devotion & his death reminded me of some lines of another fanatic old codger, Ezra Pound (from Canto LXXXI) :

What thou lovest well remains,

                                                  the rest is dross

What thou lov’st well shall not be reft from thee

What thou lov’st well is thy true heritage

Whose world, or mine or theirs

                                            or is it of none?

First came the seen, then thus the palpable

        Elysium, though it were in the halls of hell,

What thou lovest well is thy true heritage

What thou lov’st well shall not be reft from thee