Apollinaire lived in Paris, I live in Minneapolis (MN)

SNOW WHEEL

A little snow meanders down in Minneapolis

to cold November earth.

Guillaume, prince triste of mirth

was lowered from his balcony in Paris

two days before the Armistice.

Grandpa packed up his guns

one last time, near Verdun.

Spent rulers carpentered their peace.

Sacre du Printemps set the stage.

Russkaia Neva-sacrifice

summons her apotheosis –

leaps for the holocaust of banal rage

mounting to self-consuming poshlost peak.

Apollinaire was there

that night (under the sulfur-

flare, the guttering of Belle Epoque).

Grandpa field-marshaled the parades

on Armistice Day.  Lafayette,

we are here... the old print

over the dinner table (Revolutionary shades

trippin’ la gigue française, at Mt. Vernon).

My ghosts are here now,

in November snow.

The Rio fleuves inexorably on

down to St. Louee, New Orleans.

Jeanne spins with Jessie

to their Stagger Lee...

my snow wheel hums, Rose (oriens).

11.10.19

poem for Father's Day

John Gould rowing in Oxford, ca. 1995

COPPER SEAL

Father’s Day.  Here’s a quiet hallway.

Grandpa’s twilit apartment

on Delaware Street.

Cozy, gemutlichkeit, OK.

Grandma’s old Revolutionary print

over the dining table.

George Washington & nimble

Lafayette – their filial détente

confirmed in pizzicato minuet.

Grandpa’s brass cannon

shell shines dans le coin –

Et nous voilà, sieur Lafayette.

So the crimson seal in melting wax

like Hamlet’s father’s ring

purls out, expanding

into undiscovered final acts –

Pacific reconciliations, palm-

print circumferences...

the moss-green salience

of Liberty’s majestic calm.

The Son of Man looks to his father

as to an anchorage –

firm stay against dry rage,

banal amnesia, unruly weather;

history would lose its thread

& be estranged, without

a commonality of thought,

that human constancy – dead

                *

center of the curly sprout

who springs up (fed

by seedy Shakespeare’s Head)

to brazen River of the Holy Spirit

(Father of Waters).  Before all times

the soul looks out in joy

upon a wide Creation Day

like mossy meadowlands – rhymes

with Honest Abraham in his

absinthe mandorla – bright

JFK & MLK – light-foot

Truth come marching in (this

copper seal of Peaceable Kingdom).

Light of fathers everywhere,

the milky dawn-lair

of the race, breathing soul freedom –

like whisper of Lipsanothek

(cross-braced in elephant

ivory from distant

Brescia) – a life made perfect

sustenance.  So a little acorn

from William’s Catholic Oak

(in windy Providence) spoke

to me once, as father to son;

as a green man in emerald coat

smiles from a heart of sunny

gold, so dauntless – funny!

Lifting my heart to his coracle-boat.

6.18.17

John Gould, U.S. Navy, 1945

compact Mayflower

ACCORD-HARMONIUM

Memorial Day.  The little flags

for birthday boys.  A vast

lime hillside park, just

north of Harriet.  My scraps & rags

of memory.  Twilight apartment

in the 50‘s (60 years

ago).  Mahogany.  Grandpa’s

brass shell from France.  The scent

of pipe tobacco.  Suntanned print

of Washington & Lafayette

skipping a minuet

après la Revolution... ancient

icons of a Constitution, hereby

animated (in the flesh).

How to start fresh?

For the remembrance of me...

for 1st Minnesota, Cemetery

Ridge (clumped there

after the last full measure).

Play with your toy soldiers, Henry.

Hawk-wrought republican scriptures

underwritten by compact

Mayflower... covenant

of friendly fellowship (yours,

mine, ours).  Underscored in turn

for soft flute melody

out of forgotten Gypsy

music-box, deep August forest (yearn

                *

for startled stars, green, coppery).

The absinthe reminiscence

of a Peto (Still Decades).

Time’s overrated.  It’s your history

that’s in your making, Liberty.

Out of Itasca spring

a major serpent thing

treads sinuous Welsh-knotty

tanglements, under lightweight bridge

(it’s only gravity) –

your shadow-play, Psyche,

Eurydice.  Reunion.  To the edge

of black-&-yellow double-eagle

eggshell canoe (viceroy

cocoon?) from stony

Petrograd (oscillate, seagull).

Black-orange monarch of your soul.

This little mustard seed

of pilgrimage (Venerable Bead

or Columbaa) will ravel up the whole

into an Okie safety catch of swinging

carousels – Francesca

slanting out of Rimini

(doggèd by Pound) is bringing

Beatrice in her wake – a hurricane

accord-harmonium,

an oriole some-hum bonum

renewing memories (Van Windowpane).

5.26.17

unfinished business

LIGHT CANOE

Cold Minneapolis.  White flakes

float solo, lazily

toward frozen sod.  He

sleepy too, Great Harry – shakes

his fusty bearskin (Mister Rabbi

tucked into his cave).

Wish they would behave.

A wayward dolor over fly-by

country ekes the bile from bunny-fur.

Infinitely gentle,

infinitely... mental

clamps inhibit memory, yessir.

Over the mantle in the dim apartment

Lafayette was dancing

just for Washington.  Sing

victory, Columbia – our true intent

was Liberty.  Hail to the Chief

in Indian Country –

arctic blue pine tree

sheds secret home (Sending Relief).

Grandpa’s got amnesia now.

The old brass shell from

Belgium mourns like a bell

in the pipe-smoky corner.  Plow

up the rose from the deep well of France,

Willa – that spiral dance

Crane zigzagged in a trance,

Atlantis echoing in weedy elegance.

                      *

Unfinished business crowds a heavy

surf onto the canvas.

Painter sticks to grass

with orange tar-baby.  Chevy

waves from Davy’s Locker – swings

his palm toward magnetic

north.  D.C. frantic –

Empire stuns fleet – Mort brings

us to us knees.  Only a wee

green island merman,

imperturbable, remain –

Pacific mule (Admiral of Ocean Sea).

A little grey jay (Whisky Jack)

whistles through her veil

of salt-shaking.  Sail

on, Peace Corps – Pearl’s Clamshack!

Under the turbid rotoring

of pyramid schemes –

when trumpery becomes

a weird mudfish – a rippling

stone floats to the surface, springs

to hover – catenary

honeycomb (or berry-

gem).  All minions, toughs & underlings

flee suddenly, like shady characters

out of a bad novel

(their plots unravel).

Blue J’s light canoe threads jasper piers.

12.7.16

Euxine seagull arcs

FISHING BOATS

The old watercolor over the mantle

in my mother’s house – the twin

gray fishing boats, the brown

warehouse, the whitewashed walls.  Gentle

Gloucester, Massachusetts (Grace

Ravlin pinxit – Grandpa’s

cousin, from Kaneville, Illinois).

Soft clouds, the upright crosspieces

of lank lanyards (still sea-green

harbor, granite walk).

Thinking of another work –

lone lady at Mount Vernon, culling

flowers for George Washington.

And of another Maximus –

not Gloucester’s famous

philosophe, but Maximus, blue unicorn

who sketched with Euxine seagull arcs

on stumps (his amputated

medium) one delicate

& sibylline solution.  Sparks

fly upward from the hearth of Love

– fly outward, penetrate

wolf-packs of gulag-state.

This heart simmers like kiln-hot stove

or croon of turtledove, hidden...

violet in tall field grass,

cricket near an underpass.

Willow by slow river (Magdalen).

7.11.16

Grace Ravlin, Gloucester Harbor (ca. 1928)

Gemstone of Paradise

NEVA-LAND

The poem is for lonely you

amidships (I-&-Thou

nailed coign to prow) –

& for that grubby neighbor too

next door (George or Georgina

with the garden hoe).

A solitary lamp-glow

lingers in the old cantina –

in William Blackstone’s study (man

who went to live with...)

– uphill, on the forest path

to Middy Wewe’s blithe fountain.

George Washington spins in his grave

to see how we behave

without a mind to save

us from ourselves.  Thee must be brave,

& true, & kind, & dedicated

to the perfect good –

that global neighborhood

that shines, wid’ green & delicate

kiwi-glow, beneath the rind

of blind & brutal night.

A callow grail-knight

stumbled on it once, near Samarkand –

spry Wolfram rings the tale – &

like an unknown soldier

leapt – O soulman Prospero! –

from here to Skye (in Neva-land).

5.20.16

White Rose sets in the west

SHADOW-WELL

George Washington was born today;

Sophie Scholl was killed

as well.  Her cup was spilled

in order to brim up the bloody

mystery of iniquity that is

our history – an epic-

georgic bio-pic

or tragicomedy (blind Theseus

meets Ariadne in a maze

of corn – assumes she’s

golden Taurida... FINIS).

Wings waft into a purple haze.

The moon belongs to everyone.

She set this morning through

a window shade (pale blue

the air, drawn up from Galilean

shadow-well).  This labyrinth

contains a Minotaur

indeed – his name your

own.  The light is very thin

within retaining walls of iron

chicken-wire (chain link);

quincunctial conjunction

for plowman (Sir Thos. Browne).

Wisdom B. Justified (in all 

her children).  Madre moon

sheds rain upon human

travail... silvers the plow (selah).

2.22.16

Moonset, 6:35 a.m. (Minneapolis)

Sketch (from canoe)

BEE-STING

The rough sketch reaches back

so deep into beforetimes

like those caves of limestone

dolphins, walking... some refraction

in the water-filter flips Time over

into clear half-moonlight,

where Word-is-Psyche

typed into a graveyard clover

prints snowfeet along Minnesota

River, cemetery

ridge of Irish faery-

land (Apollinaire in Georgia).

Hard to explain.  Grace Ravlin

what thou lovest well

this garden, under spell

of summer sun (your Washington

laboratory).  Someone brave

magnanimous & kind

who vaults the epic rind

from orange threadspan (architrave

of salt-blue ice).  An Ocean State

of mind, where ships sail

slowly down to Coral

Sound, abeam some forthright

rabbit lighthouse, trembling.

Forgive me, it is so.

Earth is very slow

a-borning.  Here (one dead bee-sting).

10.19.15

Look at the canoe

BRIGHT GAL

        “Look instead at the canoe, I beg you, and observe 

        its honesty, dignity, and moral courage...”

                   – The Garden of the Finzi-Continis

The last full drop of summer sun

plays out across a falling

garden.  Dogwood, shedding

scarlet berries, rattles in

cool air.  Leaving Lil’ Rhody soon

(for North Star State).  Exile

is a state of, meanwhile.

Yom Kippur whispers repent, atone;

Francis in Washington lifts up

his rod of Aaron (bloom

of magnanimity &

doom).  A star from David’s cap

came forth... a cedar replica

from Lebanon – like Wanda’s

wand (the State Fair Queen,

robed in golden Land o’Lakes

boxim (within more boxim)) -

aimed, centripetal,

toward glimmer-portal

of the Milky Way.  The little foxes

all stacked up, O my beloved.

Monarch is an imago

out of the cocoon

of long ago.   A turtledove,

the El of El – Francesco

out of San Francisco – ark

within an arc of light, or

Galilean galaxy (an Okie oak).

9.23.15

Papa touches down

MAZY SIMONE

Equinox : a bridge between seasons.

Nay, no night-mare;

articulate as horsehair

& as serviceable.  Musique de balance,

équilibre – night & day,

reason & faith.  Of summer,

d’automne... (mordant humor,

luminous grief)... Hey-hey,

giddy-up, Old Paint!  We galumphin’ to see

the Pope touch down, in D.C.!

Strait o’ Columba, maybe –

where turtles kick through tough gray

curves – like a mess o’ limbic pigeons

decorating limestone

from the air.  Everyone

behold her, now – mazy Simone’s

the River Queen.  Like Ariadne

with her golden seine,

or murmurous Magdalen

of sunburnt feet, she will meander

underneath each Maximus

(from Po to Eridanus,

Neva-Neva to the rusty

Don)... O Theseus, she’s mulish US!

Chart the way-way back now, Mary.

Through this labyrinth

of dinosaurs, a kitten’s

coracle will bless – make merry.

9.22.15

Ravenna Diagram

As testified by both Annie Akhmatovy & Wheelliam Bootler Yeats (not to mention Wally Stuyvens), nobody knows like they do how much poetry depends upon the foul rag-&-bone shop of the dump.  So I confess I am very obscurely fixated on a work of probable horoscopic Masonic garbage (if seemingly very diligently researched) by one David Ovason, titled The Secret Architecture of our Nation's Capital.  Ovason appears to have turned poor Henry Adams on his Educational head.

Adams, scion of the original American Presidential-Egyptian dynasty, built his own historical philosophy on the contrast, the dialectic, between the Virgin & the Dynamo : the feminine-poetic-Christian heritage of the Middle Ages (Chartres, Notre Dame) vs. the technical-scientific Chaos of modern Power (Washington, Chicago...).    Yet according to Ovason, the landscape, architecture & sculpture of Washington, D.C. emanate a controlling hermetic geomantic pattern, overlaid on the nation's capital by the Masons - a radiance of the constellation Virgo, or the Virgin - the Corn Maiden, the Rite of Spring, Pocahontas, the Statue of Liberty... all those images & psychic icons certain ecstatic-Platonic poets (unacknowledged legislators) like Hart Crane articulated and defended as embattled (in prosaic America).  Somehow the Corn Maiden got in on the ground floor of the national grain elevator.

So I wrote in previous blog post about my personal affinity for ut pictura poiesis - the idea that at the heart of poetry is this visionary-shaping painterly dimension.  Poetry, by way of its rhythmic sonic mesmerism, communicates wave-lengths of vivid images - drawn from life and adequately mirroring living (as opposed to absent, detached, prosaic, humdrum, depersonalized) reality.  In the long-poem project Ravenna Diagram, I reckon that, for me, Ravenna represents a kind of civilizational matrix for this particular sense of incarnational iconophilia.  The "venn diagram" of Ravenna Diagram is a visual image of the union of two-in-one, the sacred marriage of spirit & flesh.  As an historical phenomenon : as a pivotal event which frames one's sense of the direction of our future world.

There are lots of things going in today's excerpt, which cluster around these ideas, along with others... I can't go into them all.  The idea of the "lattice" and the "Path P" are allusions to the chi-rho symbol : the pneuma (Spirit) P rising (like the Ghost Dance) over the lattice of the "X"... the "Path P" also refers to "poetry", thinking of Dante, buried in Ravenna - whose masterwork was completed in Ravenna, and which features, at its very end, another venn diagram (Dante's vision of the Trinity as a mysterious set of interlocking rainbow circles).

CLAY LIPS

If I whisper out of this backyard garden

& word went forth from Ramah

Rachel weeps... no more

a cricket shuttles through the iron

lattice – churring chi-rho, chi-rho

a pigeon croons là-bas

là-bas... labarum... abba...

baa... lambs on a radius go

round, skip stones, elliptical

(up to the mountaintop).

Rough clay lips elope

for steppes, ignite pyramidical

lens – Nile coming-forth-of-July

in one almond canoe;

wooden frame for yew

rainbow (adieu beyond river-eye).

Beneath an avalanche of violence

the lattice rusts, the eye

corrodes.  Still clay

will coalesce, in tinder hands;

Giuliana in her mossy coat

& frowning eye signal

another way; lips channel

shapes (mosaic, inchoate)...

Ravenna diagram, vertiginous cross-

road into Washington.

Path P, star-tangled almond

tree – here chariots bloom (manes toss).

6.30.15

The New Masons

As usual, I'm immersed in a serial poem which feels like a long-term construction project.  Only the most recent in a series of long poems (I've written 8 or 9 of them in the last 20 years).  I'm calling it, for various reasons, Ravenna Diagram.  (A Venn diagram, as you probably know, is based on a simple geometrical figure describing the intersection of two circles.)  In my experience, whenever I started fiddling with numbers & geometry, a poetic project is being born.

As part of my "research" I recently discovered a book from the 80s by John James titled Chartres : the masons who built a legend (Routledge & Kegan Paul, 1982).  An eye-opener.  James is clearly someone with a builder/architect's background.  But he's a wonderful detective, too.  By studying the smallest changes & differences in details of Chartres' masonry & design, he's able to sketch out the individual masons/architects behind each part of the building.  There were at least 4-5 of them.  I find it marvelous how he illuminates their decisions in shaping & setting-out elements of this unbelievably massive stone structure.  He is also extremely sober, modest & circumspect in his judgements : there are no theoretical flights of fancy here.

One theme James emphasizes is the difference between the medieval artistic ethos & that of the post-Renaissance, modern era.  All these master designers & craftsmen are anonymous.  There is no cult of individual genius - no exalting of the fine artist (the sculptor, say) over the other workmen.  They work in teams.  Teams of teams, actually : each one guided by the characteristic artistry & temperament of the master mason, or team leader.

I started musing about this issue in relation to making poetry.  On the face of it, poetry today seems a typical phenomenon of that Modern individualism - maybe even an extreme manifestation, in comparison to other fields of endeavor.  I myself have certainly tried very hard to remain independent & idiosyncratic - absolutely free to do my own thing in poetry.

But if you scratch a little deeper you find traces of collective effort & collaboration in poetry.  Some poets in fact make an explicit counter-attack on individualism, forming group movements, defining their collective ethos & goals, engaging in collaborative writing projects.

I think there is a further level of collaboration, on a more implicit level.  It comes out of the poetic process itself - of reading, imitation, allusion, parody.  We model & shape our poems following, & revising, forms that have already impressed themselves upon us.  This process is in turn further shaped by collective "canon-formation" - when poets & poems enter the cultural bloodstream, moving from alien products to a kind of "second nature" (see Eugenio Montale's essay, "The Second Life of Art").

Long ago I became fascinated with the Acmeist group of pre-WWI St. Petersburg.  In many ways they were no different from the other modernist art movements springing up at that time (Futurism, Imagism, etc.).  A small group of young poets developed a shared sense of style & thematics - & sometimes formed personal friendships & alliances which long outlasted the platforms of the groups themselves.  In their early days, the Acmeists were quite formal about their activities - meeting at a long table at the prescribed time each week, reading & discussing poems with a kind of official sobriety, dedication & gravitas.  (At least that's one of the historical impressions which they left us.)

There seems a strange kind of literary eschatology involved here.  By that I mean the manifestation or instauration of an actual literary group seems to bring the implicit collective nature of art & craft to an explicit crystallization.  Something briefly surfaces which is perhaps there all the time.  Mandelstam's art of trans-historical allusive richness - & his emphasis on architecture as a prime analogue of the poetic art - are a key dimension of the Acmeist ethos.  Pushkin & Ovid are his contemporaries, Mandelstam proclaims.

There are parallels in American poetry of the same period.  John Irwin, in his massive study of Hart Crane, has brought to light the truly "Masonic" dimensions of The Bridge - the many layers of allusive groundwork laying a foundation for the song itself.  The poem is a "choral" piece, harmonizing American themes with ancient poetics (Crane clearly drawing on the "mythical methods" of Joyce, Eliot & Pound).

(As an aside, I am absolutely flummoxed by the striking parallels between Crane's mythography of Virgo, Astraea, & the Statue of Liberty in The Bridge - as outlined by Irwin - and the hidden Masonic thematics of the constellation Virgo - "the Corn Maiden" - explored by David Ovason in his fascinating book The Secret Architecture of Our Nation's Capital.  This work seems to be more than just another New-Agey fantasy-occult book.  The intricate historical scholarship is remarkable.)

We are probably only beginning to explore this new (neo-medieval?) dynamic of artistic interaction : the collective building project & the characteristic thumbprint of the individual "master".  They go together.  Meanwhile nations & cultures, along their devious, submerged, counter-intuitive, dialectical paths, go about shaping the canonical myths of the future.

Poets : builders in the high room of the Pentecostal word.

poem posted previously was based on statue of Geo. Washington, standing, behind some cypresses[?], in public park, in Minneapolis, across the street from Art Institute. Where resides (in the basement gallery) Chagall's "The Poet", about which I wrote a nice poem once, back when, which I have, since, misplaced.

Trying to think again a little (& not getting very far this morning) about poetry & the political.

How it seems to come down to who is left out of the picture - whether it's women in Afghanistan, or low-wage workers in the U.S. This is also what it comes down to on a local level. Here in RI, as the national election season gets going, the state legislative session & budget process also gets underway. One of the contentious issues is zoning for low-income housing development. RI is one of the most crowded states, with the lowest rate of new housing development, & the highest rents, etc. Major problem.

A law went into effect which would have made it easier for developers to build low-income housing outside the metro ghetto, in the well-off suburbs. It was immediately stymied by court action & now the legislature is trying to work out a compromise.

What it seems to come down to, as usual (I'm simplifying for emphasis), is : are you going to make room for the poor in your world? Between the rich & well-off in RI, and the corrupt and grabby politicians & special interests (state employees, labor & business all together), the poor get short-changed, & suffer for it, & thus the general culture & quality of life are degraded too.

Of course whether you're talking personally, locally, nationally, or internationally, political issues are not simply objects of moral platitudes, but practical problems, subject to inventive solutions.

Neither the anti-government individualism of the Republicans nor the self-righteous patronizing attitude of pro-government Democrats is good enough. One leads to laissez-faire injustice; the other to onerous & often inhumane bureaucracies. But I lean toward reform & positive government efforts, collective public action for the common good. So I guess that makes me more of a Democrat (in the current definition of such, anyway). I don't see government as inevitably bad.

What does this have to do with poetry? Not much, I guess.

Poets will always be alert to the drama of history, small & large. The interlocking webs of mutuality. & will find ways of making verbal music out of this.

The frustration for me involves not even making a dent in the US subculture of poetry, much less reaching any kind of general audience. & what the heck, I'm hardly writing it at all these days. & I've learned to be irritated & disillusioned with the subculture in almost all its manifestations. For most it's enough simply to decry capitalism & demonize Bush & there you are. I think the US is a mess because we haven't come to terms on the social contract, but self-righteous honkings on left or right are pretty boring and unoriginal, not to mention unhelpful in any way. Very oddly & interestingly enough, we will have to re-learn this - the terms of the social contract - along with China.

(I should remember that my particular literary frustrations are not political at all, & that becoming involved in a helpful way does not necessarily have anything to do with writing. )

I imagine a poetry that doesn't purvey political stereotypes to its captive audience, but presents a complex image of "reality" through the medium of various traditions, modes, forms.

this is probably the last "political" poem I wrote (published a while ago in Fulcrum). A section from "All Clear". Note the figure of the abject, or the left-out; the dove; the "succession". I guess I tend to repeat myself (including blogging this poem before).

(p.s. note date of composition, with echoes of this.)

4

 
Christmas is coming      but here      in sleepy-febrile Florida
tied at the neck      under stage lights      one big brother
wrestles with another      and      when this battle is over
who will wear the crown?      as a gospel voice in the rotunda

 
croons in my ear      and as reporters cluster by the grave
of Robert Trout (“Iron Man of the Blitz”) and you perceive,
ephebe, the idiom of this      intervention      (requiem
for a midnight sun      or century)      and through the nave

 
today      they bore a body to the columbarium
(rotund profundity beneath nine bells)      only him
(Brown, William Wallace, Jr.)      a homeless man
and blind     who stopped the wheels of the imperium

 
one day      right on the street      asking the father of
George W.      please pray for me      and he paused there
(the President)      and said      come along with me
to St. John’s      we’ll pray together

 
the music of what happens      when      no man is
and the bell tolls for thee      like Janis Joplin’s
high note      who will wear the crown?      your doom
Kosmos      a little world      curls into bronze

  
and sounds      from the 132 rms of a pallid prize
to the 132 acres of N. Main Cemetery (Providence)
where you’ll find me (here now      there then) mourning
a vagabonded      end of century      where a dove strays

  
from San Francisco      down to Florida      an unknown
hobo Noman      left behind      his leaf gone brown
is your redemption      (sleepy time and railroad
nation)      W.W. is his name      crowned    here    and    gone

        
                                                           12.3.2000