Sunday, June 6, 2010

A Witch Is Just a Woman with Nothing Left to Lose

I found this poem in a Barnes & Noble about a decade ago. I had just graduated from high school, I was stuck in a small town in Alabama the summer before my freshman year of college. The rest of my family was traveling around the country raising support to go back to Ukraine, I was trying to make a little money working. I lived in a local church's missionary house, but I had never been to the city before and knew nobody.


At some youth group event Beth was playing guitar and leading worship songs. She loved music,  painting, reading, she was just the kind of all-around gifted and smart person I desperately needed to know. We went to a couple of her friends' parties, a museum or two, hung out a lot in bookstores since there's not much else to do in small-town AL after 8 PM.


We stumbled on Margaret Atwood's collection of poems "Morning in the Burned House." At the time I had no idea how big a deal Atwood is as a poet/novelist/critic. In fact, what made me remember this piece is that I just got done reading her fun and enlightening book on writing called "Negotiating with the Dead."


But this poem (that I discovered about the same time as "The Blair Witch Project") always spooked and delighted me. It's a little long, but I think it's a really creepy ride.




Half Hanged Mary 
Margaret Atwood

7 p.m.


Rumour was loose in the air, 
hunting for some neck to land on.
I was milking the cow,
the barn door open to the sunset.


I didn’t feel the aimed word hit
and go on in like a soft bullet.
I didn’t feel the smashed flesh
closing over it like water
over a thrown stone.


I was hanged for living alone,
for having blue eyes and a sunburned skin,
tattered skirts, few buttons,
a weedy farm in my own name,
and a surefire cure for warts.


Oh yes, and breasts, 
and a sweet pear hidden in my body.
Whenever there’s talk of demons
these come in handy.


8 p.m.


The rope was an improvisation.
With time they’d have thought of axes.


Up I go like a windfall in reverse,
a blackened apple stuck back onto the tree.


Trussed hands, rag in my mouth,
a flag raised to salute the moon,


old bone-faced goddess, old original,
who once took blood in return for food.


The men of the town stalk homeward,
excited by their show of hate,
their own evil turned inside out like a glove,
and me wearing it.


9 p.m.


The bonnets come to stare,
the dark skirts also,
the upturned faces in between,
mouths closed so tight they’re lipless.
I can see down into their eyeholes
and nostrils. I can see their fear.


You were my friend, you too,
I cured your baby, Mrs.,
and flushed yours out of you,
Non-wife, to save your life.


Help me down? You don’t dare.
I might rub off on you,
like soot or gossip. Birds
of a feather burn together,
though as a rule ravens are singular.


In a gathering like this one
the safe place is the background,
pretending you can’t dance,
the safe stance pointing a finger.


I understand. You can’t spare
anything, a hand, a piece of bread, a shawl
against the cold,
a good word. Lord
knows there isn’t much
to go around. You need it all.


10 p.m.


Well God, now that I’m up here,
with maybe some time to kill,
away from the daily
fingerwork, legwork, work
at the hen level,
we can continue our quarrel,
the one about free will.


Is it my choice that I’m dangling
like a turkey’s wattle from this
more than indifferent tree?
If Nature is Your alphabet,
what letter is this rope?


Does my twisting body spell out Grace?
I hurt, therefore I am.
Faith, Charity, and Hope
are three dead angels
falling like meteors or
burning owls across 
the profound blank sky of Your face.


12 midnight


My throat is taut against the rope
choking off words and air;
I’m reduced to knotted muscle.
Blood bulges in my skull,
my clenched teeth hold it in;
I bite down on despair.


Death sits on my shoulder like a crow
waiting for my squeezed beet
of a heart to burst
so he can eat my eyes


or like a judge
muttering about sluts and punishment
and licking his lips


or like a dark angel
insidious in his glossy feathers
whispering to me to be easy 
on myself. To breathe out finally.
Trust me, he says, caressing
me. Why suffer?


A temptation, to sink down
onto these definitions.
To become a martyr in reverse,
or food, or trash.


To give up my own words for myself,
my own refusals.
To give up knowing.
To give up pain.
To let go.


2 a.m.


Out of my mouths is coming, at some
distance from me, a thin gnawing sound
which you could confuse with prayer except that
praying is not constrained.


Or is it, Lord?
Maybe it’s more like being strangled
than I once thought. Maybe it’s 
a gasp for air, prayer.
Did those men at Pentecost
want flames to shoot out of their heads?
Did they ask to be tossed 
on the ground, gabbling like holy poultry,
eyeballs bulging?


As mine are, as mine are.
There is only one prayer; it is not
the knees in the clean nightgown
on the hooked rug.
I want this, I want that.
Oh far beyond.
Call it Please. Call it Mercy.
Call it Not yet, not yet,
as Heaven threatens to explode
inwards in fire and shredded flesh, and the angels caw.


3 a.m.


wind seethes in the leaves around
me the trees exude night
birds night birds yell inside
my ears like stabbed hearts my heart
stutters in my fluttering cloth
body I dangle with strength
going out of the wind seethes
in my body tattering
the words I clench
my fists hold No
talisman or silver disc my lungs
flail as if drowning I call 
on you as witness I did
no crime I was born I have borne I 
bear I will be born this is
a crime I will not
acknowledge leaves and wind
hold on to me
I will not give in


6 a.m.


Sun comes up, huge and blaring,
no longer a simile for God.
Wrong address. I’ve been out there.


Time is relative, let me tell you
I have lived a millennium.


I would like to say my hair turned white
overnight, but it didn’t.
Instead it was my heart;
bleached out like meat in water.


Also, I’m about three inches taller.
This is what happens when you drift in space
listening to the gospel
of the red hot stars.
Pinpoints of infinity riddle my brain,
a revelation of deafness.


At the end of my rope
I testify to silence. 
Don’t say I’m not grateful.


Most will only have one death.
I will have two.


8 a.m.


When they came to harvest my corpse
(open your mouth, close your eyes)
cut my body from the rope,
surprise, surprise,
I was still alive.


Tough luck, folks,
I know the law:
you can’t execute me twice
for the same thing. How nice.


I fell to the clover, breathed it in,
and bared my teeth at them
in a filthy grin.
You can imagine how that went over.


Now I only need to look
out at them through my sky-blue eyes.
They see their own ill will
staring them in the forehead
and turn tail.


Before, I was not a witch.
But now I am one.


Later


My body of skin waxes and wanes
around my true body, 
a tender nimbus.
I skitter over the paths and fields,
mumbling to myself like crazy,
mouth full of juicy adjectives
and purple berries.
The townsfolk dive headfirst into the bushes
to get out of my way.


My first death orbits my head,
an ambiguous nimbus,
medallion of my ordeal.
No one crosses that circle.


Having been hanged for something
I never said,
I can now say anything I can say.


Holiness gleams on my dirty fingers,
I eat flowers and dung,
two forms of the same thing, I eat mice
and give thanks, blasphemies
gleam and burst in my wake
like lovely bubbles.
I speak in tongues,
my audience is owls.


My audience is God, 
because who the hell else could understand me?


The words boil out of me,
coil after coil of sinuous possibility.
The cosmos unravels from my mouth,
all fullness, all vacancy.

Duelling Tankas

I've been occasionally flipping through a Penguin book of Japanese verse and found a pretty amazing poetic exchange. These are two tankas from before 1000 CE, written by sisters of the royal house. The tanka is a poetic form that has five units with a syllable pattern of 5-7-5-7-7, although usually when translated into English the syllable counts are less important.

The first poem was written when then-emperor Tenji was showing his favor to Princess Nukada. The second poem was written by Nukada's sister Kagami responding to losing Tenji's affections.


Tanka
Princess Nukada


I waited and I
yearned for you.
My blind
stirred at the touch
Of the autumn breeze.




Tanka
Princess Kagami


In reply to a poem by her younger sister, Princess Nukada.


The wind blew: for you
it blew, a hateful wind.
I waited for this wind
to stir, to stir for me.
And now, my heart bleeds.

I'm Beginning to Sound Like a Crank

So once again I'm starting with an article that I'm somewhat ambivalent towards. Dwight Garner of the New York Times uses the occasion of Voznesensky's death to celebrate the good ol' days of Russian poetry and smugly lambast modern Russian culture which seems to ignore its poets with the same casual shrug as American culture.

I can't fault him for that - I've got a lot of those same feelings. What irks me is the scapegoat he finds for this abandonment of poetry as the voice of the people:


"Russian poetry in 2010 has lost most of the awful things it once had to push and grind against — happily for its poets, perhaps, and perversely less happily for its verse. And surely the country’s poets are less read for some of the same reasons they are elsewhere, including the distractions of Yandex (the Russian rival to Google) and Odnoklassniki (the Russian answer to Facebook)."


Guess what? It's the lack of oppression, plus those young kids and their darn gadgets that's ruining Russia. I'm sure it has nothing to do with subtle and insidious repression of the press by a government that's the Diet Coke of Soviet Communism. (Same taste, fewer calories.) Can't be the so-called "brain drain" whereby gifted intellectuals realize they can actually feed their families by moving to a country that pays its teachers. Not to mention that most of the poets he celebrates were blacklisted, banned or executed and their works existed primarily in samizdat or self-published typewritten manuscripts passed around like contraband from one freedom-starved hand to another. 

How big an effect on the culture at large did these giants of Russian literature actually exert? You've gotta remember that history gets written by the winners and a lot of great "approved" Soviet verse (notably Mayakovsky) gets chucked by the wayside in favor of Gumilev, Akhmatova, Yevtushenko and others who had run-ins (sometimes fatal ones) with the Law.

On top of that, it's the singing poets, the "bards" like Galich, Okhudshava and Vysotsky who were the real superstars. These bards usually had voices that make Bob Dylan and Tom Waits sound like Frank Sinatra or Barry Manilow. Their guitar playing skills were limited to some diatonic minor 7th chords and finger-picking. The LYRICS was the key: lots of melodies and chords were interchangeable, that's not what people were paying attention to. It was the presentation and the poetry that really fired the imagination.

So Garner is setting up something of a straw man here. But I do grant him this much: he recommends a book I just bought, a bilingual anthology called Contemporary Russian Poetry which so far looks pretty kickin'. Down the line I'm sure I'll be including some good excerpts, but for now here's one of those Golden Oldies of Russky verse. I think me and all three of my brothers had to memorize it at one time or another.



The Captive
Aleksandr Sergeyevich Pushkin, Translated by I.Zheleznova

A captive, alone in a dungeon I dwell,
Entombed in the stillness and murk of a cell.
Outside, in the courtyard, in wild, frenzied play,
My comrade, an eagle, has punced on his prey. 


Then, leaving it, at me he looks as if he
In thought and in purpose at one were with me.
He looks at me so, and he utters a cry.
"'Tis time," he is saying, "from here let us fly!


"We're both wed to freedom, so let us away
To where lonely storm clouds courageously stray,
Where turbulent seas rsh to merge with the sky,
Where only the winds dare to venture and I!.."

Friday, June 4, 2010

Welcome to PoemBowl!

Summertime is here and the clock is starting to tick more insistently about getting my crap together for an MFA. (I think Poet School is going to be an awesome reality hit for Bravo.) In the next few months I'm preparing for and taking the GRE, getting recommendations from professors, applying to schools and most importantly for you... putting a portfolio together. 

DAH duh DAAAAAAAAAAAAAHHHHHHHH!!!!

Thanks to my ingenious brother Nate, I'm instituting my first-ever poetry championship, pitting poems against each other in fierce competition. You, lovely reader(s?), get to decide what makes it to the final cut and what's consigned to the dustbin of history. Or at least the Trash bin of my iMac. Really, this is about as close as I'm ever going to get to running a fantasy sports league and I've had to consult Google and Wikipedia extensively to get this far.


Here's how it works: every few days or so I'm going to post a pair of poems for your patient perusal. There's a survey link at the bottom of the post that simply asks which poem you enjoy more (if you'd like you can explain why). 


You don't need to give your name, correctly decipher jiggled-up characters or do anything but click buttons. It does take you to a page letting you sign up to do your own surveys, just ignore it. 


And remember: Your answers determine what I'm sending out to professors and eventually including in my applications. That's right, I'm crowd-sourcing this bad mama-jama.


I'm beginning with a pool of 16 poems. The PoemBowl is a double-elimination competition, thus hopefully correcting for differences in style and content which might cause certain worthy poems to otherwise get knocked out. The top 10 will be included, so it's more important that a poem stay in the running as long as possible than for it to be Number 1. 


I'll begin with a sonnet head-to-head, one recent and one a few years older, one Elizabethan and one Petrarchan. Let's see how this crazy thing works! 




Animals After the Fall
Matt Quarterman



At night the garden curls into a ball,
crustacean lost inside the flowered leaves.
Scavengers crawl through its roots to fall
upon her carapace, where rodents grieve.


What knowledge does the mouse have of the owl?
Perhaps the taste of fear, the cautious scent
is all the prey can have. The hunter’s scowl
gives rise to wisdom lost on innocence.


And in the final view the predator
possesses all the knowledge of his catch
except that hidden lesson caught mice learn:
surrender without pity or reproach.


Two hearts throb slowly, warm and self-aware
but ignorant of loves the other bears.






Good and Perfect Gifts
Matt Quarterman



I've read that God owes no-one anything.
Existence, heaven, noisy all-night sex
are things we don't deserve to have. At best
a man is just a cockroach, scuttling.
And that will just not do, as we all know;
the ship that our God runs is very tight.
We carry our diseases through the night
and morning brings a foot to grind us slow.


But can this line of reason still hold true?
He built the kitchen, bred this insect race
and masters' obligations to their pets
don't end when animals then turn on you.
We make him who he is and thus we face
the thought: he owes himself this massive debt.



Wednesday, June 2, 2010

Cut-Up, Bruised Need

With Mercy for the Greedy
Anne Sexton


For my friend, Ruth, 
who urges me to make an appointment for the Sacrament of Confession

Concerning your letter in which you ask   
me to call a priest and in which you ask   
me to wear The Cross that you enclose;   
your own cross,
your dog-bitten cross,
no larger than a thumb,
small and wooden, no thorns, this rose—


I pray to its shadow,
that gray place
where it lies on your letter ... deep, deep.
I detest my sins and I try to believe
in The Cross. I touch its tender hips, its dark jawed face,   
its solid neck, its brown sleep.


True. There is
a beautiful Jesus.
He is frozen to his bones like a chunk of beef.
How desperately he wanted to pull his arms in!
How desperately I touch his vertical and horizontal axes!   
But I can’t. Need is not quite belief.


All morning long   
I have worn
your cross, hung with package string around my throat.   
It tapped me lightly as a child’s heart might,
tapping secondhand, softly waiting to be born.   
Ruth, I cherish the letter you wrote.


My friend, my friend, I was born   
doing reference work in sin, and born   
confessing it. This is what poems are:   
with mercy
for the greedy,
they are the tongue’s wrangle,
the world's pottage, the rat's star.




Look how she rhymes so subtly you barely notice it: throat/might/wrote; deep/believe/sleep. It's the light touches that make it count. Has there ever been a lovelier poem that refused to accept something beautiful?


There's some quiet wisdom here, too: "Need is not quite belief." I have to agree. But there does seem to be a correlation. Dostoevsky famously wrote, "If I had to choose between Christ and truth, I should choose to stay with Christ rather than with the truth." That's not just conviction and firm faith. That's pathological desire, cut-up and bruised need for what faith gives that you lack. 


Sometimes I think I'm working my way up to it. Sometimes I think I'm working my way out of it.

Tuesday, June 1, 2010

Voznesensky

So the very well-know Russian poet Andrey Voznesensky died yesterday. And when I say well-known I mean in his heyday he could fill stadiums. And the New York Times obit says so. 


I was fortunate enough to hear him read on one of my trips back to Odessa - a theater right off the main walking street at the center of town. The place was packed, mothers brought large bouquets of flowers and made their daughters totter up to the stage after the reading to present them to him. I'll admit I wasn't overly impressed by his performance, but I'm also coming at it from quite some remove. For me, Russian poetry has always lived on the page despite the rich Russian tradition of declaiming or singing your verses. Still, it was a pleasure and an honor to have been there.


They NYT article singles out his poem "I Am Goya" for its metaphors and its sounds. :




"The poem creates its impressions of war and horror through a series of images and interrelated variations on the name of the painter, which echo throughout in a series of striking sound metaphors in Russian: Goya, glaz (eyes), gore (grief), golos (voice), gorod (cities), golod (hunger), gorlo (gullet)."




I won't go off on another tirade about translations, suffice it to say I think Kunitz does a pretty remarkable job. 





I Am Goya
Stanley Kunitz


I am Goya!
of the bare field, by the enemy’s beak gouged till the craters of my eyes gape.
I am grief.


I am the tongue
of war, the embers of cities on the snows of the year 1941.
I am hunger.


I am the gullet
of a woman hanged whose body like a bell
         tolled over a blank square...
I am Goya!


O grapes of wrath!
I have hurled westward the ashes of the uninvited guest!
and hammered stars into the unforgetting sky – 
like nails.


I am Goya.





I've also been remiss in thanking somebody. In looking up a poem of Voznesensky's to share, I flipped through a beautiful dark red 2-volume set of Soviet poetry given to me by my Russian teacher Larissa Petrovna. 

I basically learned Russian through two things: friends and literature. (As a result, I know a lot of slang and a lot of 19th-century diction. The cursing I picked up myself.) Even when most of the friends I spoke Russian with are far away or lost to me, I still have the poems.

Too Much Awesome

A quick little poem, then to my main concern. (Warning: some mild humorous coarseness may follow.)



The Gift
Sean Lause



The day my mother dropped a net 

of oranges on the kitchen table
and the net broke and oranges 

rolled and we snatched them, 

my brother and I,
peeled back the skin and bit deep
to make the juice explode with our laughter, 

and my father spun one orange in his palm 

and said quietly, "This was Christmas, 1938," 

said it without bitterness or anger,
just observing his life 
from
far away, this tiny world
cupped in one palm,
I learned I had no way
to comprehend an orange.



I read this article today which made me both pensive and infuriated.


Pensive because it has some good points about the way publishing has changed, as well as how "professional poets" have taken over poetry.


It made me infuriated because it's completely contradictory, mentions few facts and mostly unsubstantiated opinions, seems to have a dozen complaints but no solutions or aims except whinging.


To wit: David Alpaugh says things like,




"The notion that writing and performing 'poetry' is the easiest way to satisfy the American itch for 15 minutes of fame has spilled out of our campuses and into the wider culture. You can't pick up a violin or oboe for the first time on Monday morning and expect to play at Lincoln Center that weekend, but you can write your first poem in May and appear at an open mike in June waving a 'chapbook' for sale. The new math of poetry is driven not by reader demand for great or even good poetry but by the demand of myriads of aspiring poets to experience the thrill of 'publication.'"




A few of my issues just with this paragraph: is he using AIR QUOTES?! Or just liberally misapplying quotation marks unnecessarily? If he's intending to mock those words, why choose "poetry," "chapbook" and "publication" to be held up for derision?


And who the frak thinks POETRY is going to make ANYBODY famous?!?! Quick, name our poet laureate. Or the last one. Or the one before that... that's right, you can't. Okay, now name all the family members from The Brady Bunch.


That's what I thought.


Then his Lincoln Center analogy is about as specious a species as speech can be. He's likening learning a classical instrument and playing a command performance at prestigious concert halls... to reciting words in a language you already speak at a free local venue and spending twenty bucks at Kinko's to print out a Word document. It's more accurate to claim poetry open mics are more like picking up a violin for the first time, then heading out to the common area of your dorm to play for a couple of friends. ("I think this is a C....")


He also seems to be just flabbergasted by the amount of poetry being written and published. Horror of horrors! People composing verse they always think is good! You mean people can be... pretentious and over-generous in evaluating their own work?! And take to the information superhighway to declaim their verse on the streets of our precious Internets?!


He seems to just hate everything: "professional" journals publishing traditional verse by "professional" poets employed at "professional" writing institutions; amateur poets expecting to be the Next Big Thing and participating in or starting grass-roots venues or opportunities for their work; narrowing verse down to specific categories by ethnicity, religion, political affiliation, subject matter, hobby; poets nominating each other for prizes and publication; "like golf, poetry is becoming a sport that multitudes pursue and enjoy."


Dude, chill out. It's a big, complicated world out there and one of the things out there in that world is poetry. There's good and bad verse, big and small publishers, a variety of venues and settings and possibilities for it to thrive in, there seems to be more people writing all the time - which is SHOCKING considering how many articles and poems lamenting the "sad state of poetry today" flit through literary journals.


I rejoice in the confusion, disarray, chaos and fecund growth. Just like MP3s and GarageBand software, just like YouTube and a Flip camera, just like a word processor and Blogger, everything is open to everybody now. There are tools, information, classes, markets, buyers, audiences for whatever you've got. We're all artists now, we're all the audience. The democratization of art is gonna kick everything in the ass.


So to the cry that there's too much of a good thing, no way to wade through it all, too many poets backslapping each other, too many MFA programs, too many open mics and readings, too many small presses and poetry blogs, I'd like to say the following:


Tough luck, Chuck. The world's moved on and you can't spin it back the way it was Superman style. This joker would have whined that Gutenburg was destroying the art of calligraphy and driving lapis lazuli vendors out of business.


Here's the last thing that pisses me off, the thrust of his article at the very conclusion.




"I do have an uneasy feeling that a Blake and a Dickinson may be buried in the overgrowth, and I fear that neither current nor future readers may get to enjoy their art."




Man, it's a miracle we get to read Blake and Dickinson at all! Or G.M. Hopkins, or Kafka, or Melville or any of the myriad writers who today are Great Names, the CANON. Any of a billion factors could have prevented us from reading, studying and teaching them. Melville was thought to be a no-talent pulp fiction hack until the early 20th century. Kafka asked that his manuscripts be destroyed after his death. Blake was a self-published weirdo, Dickinson was a shut-in who published only a tiny trickle in her lifetime.


And for every one of those cherished and respected authors, there may be a dozen even greater writers who didn't catch the right opportunities, didn't have things break their way, lost the crucial pages, didn't include proper postage, addressed it to an editor having a bad case of dyspepsia... The list goes on. You're never going to catch every little glimmer of promise or genius in this or any century.


I for one am intensely gratified that there are so many writers, so many ways of finding them, so many schools of thought, so many poetics... I'm all for scrapping Harold Bloom's much-vaunted Canon and saying there's no accepted orthodoxy. Everybody's got their own Canon because there's just so much to love and appreciate and find worthwhile. And if your Canon thinks my Canon is stupid, well...





Alpaugh seems to think of this as having too many competitors in the race for Eternal Literary Glory, like a NYC Marathon where the runners just keep on coming, the whole world alternately jogging and cheering the other runners.


I think of it as having an infinity of Pandora stations where you can hear Lady Gaga and Cat Power and Gillian Welch and Kei$ha and Aretha Franklin and Barbra Streisand and Nina Simone and Janis Joplin and Suzanne Vega and Rihanna and Patsy Cline and Whitney Houston and Selina and Maria Callas and Mary J. Blige and Anne Murray and Big Mama Thornton, all any time you want.


I think we have too few poetry stations. Let's mash it up, open-source it, make it freeware, release it virally, make a meme out of it and get something really kinky.


Maybe when the geeks inherit the earth the whiners will finally shut up.