Minnesota Mining & Meditation

BRASS COIL

Among the North American tribes

Ojibwe midéwé medicine

was considered, bar none

dark & strong.  Copper for earlobes,

iron for arrowheads.  The beetling sky

barreled down over tamaracks

as wind made tracks

disappear in shifty drifts... hey ey

yo, winter raven!  Iron mother-bird.

Little Henry Limp

climbed out of the stump

of his papa’s grave (obsequious word,

weaker than puff of cottonwood).

Up there in Rez Cemetery

overlooking Mississippi –

him foolish-fond Ski-Neighborhood,

him dream-nest, reconciling every pain.

Down below on the floodplain

wimpy Abel, mean Cain

wrassled for the gilded unclean

scepter of dominion – going insane;

in that negative snow-light

your abject, self-abasing wight

is king of the weak, the outcast, in his rain.

& who shall have the succession, lil Hamlet?

The brass coil Vengeance

around your wrist, the dance

of California, D.C.... where’d my safety net?

10.21.19

mark how red dust leaps

GATEWAY RING

The trickster-shaman & the prickly prophet

frame a stumbling-block

you can’t dislodge... mock

as you may, puffy lectern-puppet.

It is a fundamental moral world

they dramatize, a place

of breathing flames – their science

is conscience, this life a dream unfurled

on stage (his banner over me was love).

On board a fellowship

from birth, we skip, we slip

& slide toward the deep (sky-alcove,

ocean-sepulchre... Osiris-canoe

full of Isis-candles... grave

of MLK, our architrave).

As if returning to our own soul (true).

In West Branch, Iowa (my grandmother’s

home town) there is a dark

moss-green catafalque

of Isis, adamant earth-mother (who remembers).

& the North Star of the martyrs shines

like a seminal spark

over the Iron Range.  Mark

how red dust leaps into lifelines –

how a merry-go-round of American clay

swings toward the gateway ring

upstream, down.  Shaping

newborn, translated children – maize, hay hey.

7.11.19

Henry's Blunderworld

Back in 1993, Langdon Hammer published a book titled Hart Crane and Allen Tate : Janus-Faced Modernism.  As I have absented myself from the groves of academe, and from my job as an underling in the beautiful Brown University Library, I can no longer zip down to the stacks & grab any book using fingertip osmosis.  Like ol' Ez in his Pisan cage, here in Minneapolis I must rely on slippery Mnemosyne.  Yet as I bethought myself of certain poetic problematics, cruxi & conundrumistai, this book quietly surfaced from the Henry Blunderworld.

Janus-faced... how?  On one panel, there you have Hart Crane - the troubled gifted genius, the gay man in a land of homophobiopoetics, the impossible character, the Nietzschean-suicidal narcissist egomaniac, the artist, the graceful creator.  On another panel, you have the Salieri (as opposed to the Mozart) component (in Nadezhda Mandelstam's incisive paradigm, with respect to Pushkin, Mandelstam, et al.).  The craftspeople; the literary actuaries; the devotees, the acolytes, the Pharisees, the priests, the gatekeepers, the bouncers.... Allen Tate representing the highest order of compositional learning.  He will mimic the Great Poets by sheer force of pedantry (that giant forehead!) and guile (he sounds like Crane at his most sane).

This is unfair; this is irresponsible.  Allen Tate was a scholar of "the scholar's art" (though Wally Stevens, who coined the phrase, might consider Tate one of those academic "bought men").

Hey - everybody does the best they can.

It's just that Hammer's iron bonk or slice might illustrate a divide we ought to recognize.  Not between raw & cooked or Beat & Formalist or real & conceptual or whatever latest epiphenom floats with the campus curds - but rather something to do with poetry's original communion with its audience, its historical moment.

I have a theory about poetry which is extremely simple : poetry is the summit or bloom of a particular culture's sign-system.

Signs are sacred - they are gestures, pointing everyone toward what encircles, embraces, uplifts, defines.  Yet every culture is obsessed with its own mortality, its own weakness... and Time is the scythe reaping all our faulty sign-systems.  The poet represents and enunciates these ambivalent poles, these magnetic valences.

This representation is a mode of theater.  An enactment - unpredictable, evolving, adapting to particular circumstances.  Ovid sending letters to Caesar from his remote (& final) exile on the Black Sea became a model for both Pushkin in the 19th century and Mandelstam in the 20th : a model corresponding to actual existential personal and political circumstances.  Shakespeare (whoever he was) wrote popular plays in a renovated medieval genre in order to... huh?  Speak truth to power?  How with this rage shall Beauty hold a plea? (Sonnet 65).  Maybe.  The form adapted to the motive.  & little Tuscan epileptic Alighieri... don't get me started.

& who am I, what am I doing, paddling here in my noxious blogorrhea?

I'd like to overturn the Leaning Towers of official literary certification, along with the squirming anthills of generic rebellion.  I am bored with officialdom.  I am done with Academic Poetics.  I am fed up with Popular Poetics.  The noise is killing me.  Poetry is subtle, like the tender fur on a butterfly wing.  If you manipulate wing, wing becomes useless - Butterfly goes back to her musty thread-womb.

The poet has to have all the skills & training & smarts & gifts... but nobody can teach these.  Experience teaches them; the character of the poet brings them out of the ineffable treasure-house, and polishes, sharpens, aims.

The shaman swims through the fatal air.  Raven writes in flame on the tyrant's wall... in water (on the port side of the Ark).

your fluent kingdom

NEW LESSON

Old river the color of rusted iron

you beckon me back before

shell-shocked histoire

humaine (long nightmare drill).  When

we were as flint people in limestone

hideaways, under

the glare of Viper-Vulture

in his ice-eyrie.  The repetition

of trauma exudes a pearl-shell

palimpsest (le Roi

est mort, vive le Roi) –

one slight Gennesaret wave-swell

is laved to Pietà massif, circled by Rome,

lapped by typhoons (of bursting

tears).  We are thirsting,

River, for that fluent kingdom

where Ebionite & Nazarene,

snake-handler & Sioux

shaman – every blue

highway mutt, sadsack has-been –

every humiliated woman, each

weakling sissy-boy

undone by bully

chants of dominance – might teach

a new lesson.  How once that marble

lifted into cloud...

one dove-grey noeud

vitale (breathing AMOR into dead fable).

7.19.16 

Henry & ol' Bluejay

A commenter to previous post criticizes me for not being "weird enough". Have a feeling he doesn't really know much about my poetry. Note the lens of Native American & Siberian shamanism, that focuses my longest poem, Forth of July. See the syncretism of Christianity & other aspects of traditional Western culture through that lens (for an example, here's a passage from Grassblade Light, the central book of Forth of July, which was published in Jacket magazine, once upon a time. It's about "Blue-J").

Weird is as weird does. Like many a "shamanic" type (charismatic), I have to live at certain a distance from socializing (po-biz et al.), & strictly limit my daylight behavior to regular routine (i.e. I mean, going to the library every day for 25 yrs...). (I say this only partly tongue-in-cheek.)

But read it in my poetry. Not many do (they're too busy decorating the tombs of their ancestors).

Or hey... consider the "Berryman's Henry redivivus" theme. (All the way to the operatic "Hen-scratchin'-on-the-dump" Finnegans-Wakean finale to Stubborn Grew. & happy Bloomsday to you!) Oh, I'm just gettin' started with weird...