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Wednesday, September 27, 2006

Against Entropy -- John M Ford

Posted on 2:48 AM by Unknown
Guest poem sent in by Zeynep Dilli
(Poem #1934) Against Entropy
 The worm drives helically through the wood
 And does not know the dust left in the bore
 Once made the table integral and good;
 And suddenly the crystal hits the floor.
 Electrons find their paths in subtle ways,
 A massless eddy in a trail of smoke;
 The names of lovers, light of other days
 Perhaps you will not miss them. That's the joke.
 The universe winds down. That's how it's made.
 But memory is everything to lose;
 Although some of the colors have to fade,
 Do not believe you'll get the chance to choose.
 Regret, by definition, comes too late;
 Say what you mean. Bear witness. Iterate.
-- John M Ford
As sad it is to become aware of the main mass of the body of someone's work
after his death, that pattern is repeated again and again, and here's
another such case.  John Mike Ford, whom I knew mostly through his comments
on the weblog _Making Light_ and two other of his poems, "Troy: The Movie"
and "110 Stories", passed away last night---the morning of September 25th.
Those who had read more of him made the rest of us realize what we missed.
Much more can be found starting at this weblog entry:
   http://nielsenhayden.com/makinglight/archives/008033.html

As for this particular poem, two things first caught my eye: The
English-sonnet rhyming scheme, and the last line taken together with the
title.  "Against Entropy: Say what you mean.  Bear witness.  Iterate."  In
the era when mass-scale language manipulation is an art form (even in the
way Orwell had foreseen), that reduction of Ford's call has its own urgency.

But the poem's point doesn't need to be taken at the level of politics to be
taken seriously; it's something one needs to remember in day-to-day life.
We'll forget things, and not only things we want to forget.  Things will
change.  I can't say it better than the third quartuplet of the sonnet, so I
won't try; but for things we really, truly care about and we really, truly
would like to keep in heart or mind or in physical reality, we should be
insistent about keeping it---write, tell, note, make it clear.  On a very
personal level, maybe the best argument for keeping a journal that I've
seen.

The language of the poem is driving, and on a meta-level, demonstrates its
own point as clearly and starkly as possible.  As the lines progress,
there's a shift from even the simplest of metaphors and illustrative
examples to outright "Say[ing] what [it] mean[s]." On that note, I've
babbled on too much already.

-- Zeynep Dilli

[Links]

Wikipedia entry:
  http://en.wikipedia.org/wiki/John_M._Ford
Read More
Posted in Poem #1934, Poet: John M Ford, Submitted by: Zeynep Dilli, Title: Against Entropy | No comments

Saturday, September 16, 2006

Where Lesbians Come From -- Jan Sellers

Posted on 5:57 AM by Unknown
Guest poem sent in by Aseem
(Poem #1933) Where Lesbians Come From
 It is true that lesbians do not have families;
 we have pretend family relationships.
 We do not have mothers, fathers, brothers, sisters;
 our sons and daughters do not count at all,
 having no families within which to rear them.
 And our lovers - there's nothing in that
 but something mocking truth;
 for you know it's true
 that lesbians do not have families, like you...

 We emerge, instead, complete from some dark shell,
 beds and beds of us (like oysters,
 what else would I mean?)
 sea-born on stormy nights
 with the wind in a certain quarter.
 We rise and wiggle, all slippery and secret,
 curling and stretching and glad to be alive,
 untangling our hair from the wind and salt and seaweed.
 We steal clothes from washing lines,
 and once it's daylight, almost pass for human.

 Glowing into warmth in the sun or a hard north wind
 we lick the salt from our lips,
 for now. And smile.
 We live for a while, in the light,
 despite your brutal laws
 and your wish that we were not here;
 we return to our beds by moonlight
 to nurture and foster the sweet salt shells
 that give birth to our lesbian futures.
 And there we plot, in our dark sea beds,
 the seduction of your daughters.
-- Jan Sellers
A marvellous poem. The mocking tone is done just right - funny enough to
make you laugh at the absurdity of it, indignant enough to make you realise
that it's not perhaps quite that absurd. The truth pushed just far enough to
make it satire. The poem works because underlying its ridiculous narration
is a deep sense of alienation, of feeling unwanted and other in a world
where choosing to live out your sexual preferences makes you sub-human. Plus
there's the deeply erotic oyster / salt imagery, of course.

I know practically nothing about Jan Sellers. The Virago New Poets (Virago
Press, 1993, edited by Melanie Silgardo and Janet Book) from which this poem
is taken describes her as a "part-time adult education worker, full-time
lesbian and intermittent performance poet".

Aseem
Read More
Posted in Poem #1933, Poet: Jan Sellers, Submitted by: Aseem, Title: Where Lesbians Come From | No comments

Friday, September 15, 2006

Breakfast -- Jacques Prevert

Posted on 5:18 AM by Unknown
Guest poem sent in by Firdaus Janoos
(Poem #1932) Breakfast
 He poured the coffee
 Into the cup
 He poured the milk
 Into the cup of coffee
 He added the sugar
 To the coffee and milk
 He stirred it
 With a teaspoon
 He drank the coffee
 And put back the cup
  Without speaking to me
 He lit a cigarette
 He blew some rings
 With the smoke
 He flicked the ashes
 Into the ashtray
  Without speaking to me
  Without looking at me
 He got up
 He put his hat
 On his head
 He put on
 His raincoat
 Because it was raining
 He went out
 Into the rain
  Without a word
  Without looking at me
 And I
  I took my head
  In my hands
  And I wept
-- Jacques Prevert
   (translated by Alastair Campbell)

Jacques Prévert is one of France's most well-known poets, and I was
surprised to see him so well represented on minstrels ;)

The thing I love about him is his remarkable obervation of and sympathy for
people and everyday life. He evokes deep emotions with suprising simplicity
and grace. The poem "Breakfast" published in Paroles, Prévert's first
collection of poetry which appeared late in 1945, is typical of his lucid
and poignant style.

Firdaus

[Martin adds]

As an aside, I'd like to thank reader Ian Barnett (of the Parole
Translations and Literary Agency) for drumming into me the importance of
finding out about and acknowledging the translators of non-English poems we
run. I don't always succeed, I'll admit, but I do always make the effort.
Quoting Ian's spot-on rant about this all-too-common omission:

  This lacuna annexes foreign poets to the English language in a most
  unwholesome, if reflexive, nay, automatic way. It does the invisible
  profession of the literary translator no favours either. And strictly
  it is illegal not to acknowledge provenance -- a law which, for the
  authorship of the translator, is also strangely invisible.

martin

[Links]

Wikipedia entry:
  http://en.wikipedia.org/wiki/Pr%C3%A9vert

A collection of Prévert's poems, translated by Campbell:
  http://www.otago.ac.nz/DeepSouth/vol3no1/campbell.html
Read More
Posted in Poem #1932, Poet: Jacques Prevert, Submitted by: Firdaus Janoos, Title: Breakfast | No comments

Thursday, September 14, 2006

Bonsai -- Edith Tiempo

Posted on 4:26 AM by Unknown
Guest poem sent in by Genevieve Aquino
(Poem #1931) Bonsai
 All that I love
 I fold over once
 And once again
 And keep in a box
 Or a slit in a hollow post
 Or in my shoe.

 All that I love?
 Why, yes, but for the moment --
 And for all time, both.
 Something that folds and keeps easy,
 Son's note or Dad's one gaudy tie,
 A roto picture of a queen,
 A blue Indian shawl, even
 A money bill.

 It's utter sublimination,
 A feat, this heart's control
 Moment to moment
 To scale all love down
 To a cupped hand's size,

 Till seashells are broken pieces
 From God's own bright teeth,
 And life and love are real
 Things you can run and
 Breathless hand over
 To the merest child.
-- Edith Tiempo
      (1972)

Being from a small archipelago with such a bounty of poets writing in
English, I have always wanted to share Philippine poetry with Minstrels.
But I never summoned the courage until now, when Poem #1927 (Lowell Parker's
"The Bee Box"), reminded me again of this poem and the beautiful but simple
images of love and the human experience "scaled down" into this classic
example of Philippine Poetry in English.

I was packing up my things a week ago in preparation for moving to another
country and the rote action of putting things away reminded me of the
imagery in this poem. "All that I love/ I fold over once/ And once again".
Now that I am far from home, I feel that sharing this with others will make
me a little less homesick.

It is a universal human trait to gather all the important memories and
attempt to condense these metaphysical things into tangible bits and pieces
that one can carry around. Thus, no matter where a person might be, one can
always be reminded of home and the things they love.

Genevieve

[Links]

Edith Tiempo is a Philippine National Artist for Literature.
 http://en.wikipedia.org/wiki/Edith_L._Tiempo

A collection of Tiempo's poems:
 [broken link] http://www.geocities.com/icasocot/tiempo_poems.html
Read More
Posted in Poem #1931, Poet: Edith Tiempo, Submitted by: Genevieve Aquino, Title: Bonsai | No comments

Wednesday, September 13, 2006

The Dover Bitch -- Anthony Hecht

Posted on 3:14 AM by Unknown
Guest poem sent in by Nisha Susan
(Poem #1930) The Dover Bitch
 So there stood Matthew Arnold and this girl
 With the cliffs of England crumbling away behind them,
 And he said to her, 'Try to be true to me,
 And I'll do the same for you, for things are bad
 All over, etc., etc.'
 Well now, I knew this girl. It's true she had read
 Sophocles in a fairly good translation
 And caught that bitter allusion to the sea,
 But all the time he was talking she had in mind
 The notion of what his whiskers would feel like
 On the back of her neck. She told me later on
 That after a while she got to looking out
 At the lights across the channel, and really felt sad,
 Thinking of all the wine and enormous beds
 And blandishments in French and the perfumes.
 And then she got really angry. To have been brought
 All the way down from London , and then be addressed
 As a sort of mournful cosmic last resort
 Is really tough on a girl, and she was pretty.
 Anyway, she watched him pace the room
 And finger his watch-chain and seem to sweat a bit,
 And then she said one or two unprintable things.
 But you mustn't judge her by that. What I mean to say is,
 She's really all right. I still see her once in a while
 And she always treats me right. We have a drink
 And I give her a good time, and perhaps it's a year
 Before I see her again, but there she is,
 Running to fat, but dependable as they come.
 And sometimes I bring her a bottle of Nuit d' Amour.
-- Anthony Hecht
Having recently discovered Anthony Hecht I am alternating between postures
of extreme surprise at others who have not read him and indignation at those
who have and not told me that he exists.

This particular poem is such a satisfying parody with its wide-eyed Holden
Caulfield taunts at Mathew Arnold and mock-earnestness. Hecht has also
written hilarious imitations of Horace's odes as if Horace was a
lotus-eating New Yorker who wrote for Vogue. Hecht's poems do that tricky
dance of being full of literary, even classical allusion and yet being very
accessible and fun. Perepateia for instance is a poem for anyone who likes
to go to the theatre. And the toothsome beauty of the poem is evident even
when one has no clue who ... is.

For the critics of course Anthony Hecht is an important poet because he
wrote about the Holocaust and war.

Nisha

[Links]

We've run Matthew Arnold's "Dover Beach":
  http://www.cs.rice.edu/~ssiyer/minstrels/poems/89.html

A well-written obit:
  http://www.breakoutofthebox.com/AnthonyHecht.htm

Biographical details
  http://www.english.uiuc.edu/maps/poets/g_l/hecht/life.htm
Read More
Posted in Poem #1930, Poet: Anthony Hecht, Submitted by: Nisha Susan, Title: The Dover Bitch | No comments

Tuesday, September 12, 2006

September Twelfth, 2001 -- X J Kennedy

Posted on 3:43 AM by Unknown
Guest poem sent in by a contributor who wishes to remain anonymous
(Poem #1929) September Twelfth, 2001
 Two caught on film who hurtle
 from the eighty-second floor,
 choosing between a fireball
 and to jump holding hands,

 aren't us. I wake beside you,
 stretch, scratch, taste the air,
 the incredible joy of coffee
 and the morning light.

 Alive we open eyelids
 on our pitiful share of time,
 we bubbles rising and bursting
 in a boiling pot.
-- X J Kennedy
Kennedy's poem is featured in a volume, "Good Poems for Hard Times"
selected and introduced by Garrison Keillor. Without being trite,
dramatic, verbose or clever, the twelve lines (and especially the
"aren't us" capture the essence of being spared, and the thoughts
that spin through the mind each time another image of disaster is
broadcast on a billion TV screens: What did they feel? It wasn't
me! What would I have felt? Why am I still here? More coffee?

[Links]

Academy of American Poets page on X. J. Kennedy:
  http://www.poets.org/poet.php/prmPID/634

Wikipedia entry:
  http://en.wikipedia.org/wiki/X._J._Kennedy
Read More
Posted in Poem #1929, Poet: X J Kennedy, Submitted by: Martin DeMello, Title: September Twelfth 2001 | No comments

Monday, September 11, 2006

The Workbox -- Thomas Hardy

Posted on 5:10 AM by Unknown
Guest poem sent in by Jennifer McWhorter
(Poem #1928) The Workbox
 See, here's the workbox, little wife,
   That I made of polished oak.'
 He was a joiner, of village life;
   She came of borough folk.

 He holds the present up to her
   As with a smile she nears
 And answers to the profferer,
   ''Twill last all my sewing years!'

 'I warrant it will. And longer too.
   'Tis a scantling that I got
 Off poor John Wayward's coffin, who
   Died of they knew not what.

 'The shingled pattern that seems to cease
   Against your box's rim
 Continues right on in the piece
   That's underground with him.

 'And while I worked it made me think
   Of timber's varied doom;
 One inch where people eat and drink,
   The next inch in a tomb.

 'But why do you look so white, my dear,
   And turn aside your face?
 You knew not that good lad, I fear,
   Though he came from your native place?'

 'How could I know that good young man,
   Though he came from my native town,
 When he must have left there earlier than
   I was a woman grown?'

 'Ah, no. I should have understood!
   It shocked you that I gave
 To you one end of a piece of wood
   Whose other is in a grave?'

 'Don't, dear, despise my intellect,
   Mere accidental things
 Of that sort never have effect
   On my imaginings.'

 Yet still her lips were limp and wan,
   Her face still held aside,
 As if she had known not only John,
   But known of what he died.
-- Thomas Hardy
My closest friend turned me on to this poem about 13 years ago and it has
haunted me ever since. When I first read it, I saw only a surface tale of a
woodworker/coffin maker who made a box for his wife from a leftover bit from
his work. But on a second read I saw a woman whose husband had killed her
lover and who was now giving her a very unmistakable message: "I'm not
fooled, and this is all you have of him now. You might be next."

It's pretty powerful story telling.

Regards,

Jenn

[Links]

Wikipedia on Hardy:
  http://en.wikipedia.org/wiki/Thomas_Hardy
Read More
Posted in Poem #1928, Poet: Thomas Hardy, Submitted by: Jennifer McWhorter, Title: The Workbox | No comments
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Blog Archive

  • ▼  2007 (8)
    • ▼  January (8)
      • The Word -- Tony Hoagland
      • The Old Fools -- Philip Larkin
      • A Winter Ode to the Old Men of Lummus Park, Miami,...
      • Hello In There -- John Prine
      • To Virgins, to Make Much of Time -- Robert Herrick
      • The Boy Who Laughed at Santa Claus -- Ogden Nash
      • Brown Penny -- William Butler Yeats
      • The Year -- Ella Wheeler Wilcox
  • ►  2006 (162)
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