I’m sorry for not stating here that I’d let my anthology go dormant. One reason was that I didn’t think anyone was looking at it, but recently I finally opened it up and there were many comments. So to those people who did check in—thank you for reading my posted poems, it gives you a sense of a my (boring, middlebrow) taste. Maybe I will take the anthology up again at a later time, because on re-reading those poems, many of them forgotten by me (so much for the memorization), I realized how much I like them.

For now, though I wanted to say that I am blogging (part-time, another questionable experiment) for the Poetry Foundation, which is affiliated with poetry magazine. So you can read my maundering for the next few months at poetryfoundation.org. You will find there a wee heading that says “blog.” I’ll only be posting once a week, though, through the month of August. Perhaps that will motivate me to start posting poems again. Or not. So far, I’ve learned that the blogging world is a little rougher than I’m temperamentally suited for.

Explanation for extreme lapse: I had to kill off my feeble attempt at blogging, or not-blogging, because I was already spending so much time at the computer that spending additional time there, or here, simply became excruciating to my legs and back. Plus my tendency is to acquire enthusiasms, and drop them, I know.

The modern preference is for the improvised product over the polished one. Hence: reality TV, blogs. Such a distillation is flawed of course because then how come people aren't rushing out to buy jazz CDs?

In my writing I've perhaps gone overboard on the polish and hope to learn to improvise, to allow for more raggedness. But no one needs to read my ragged maunderings, and there are already so many poetry sites.

Now I've gotten a service dog (no dropping that enthusiasm for a decade: this seems longer than my lifespan but it seems important to simply forge on. Otherwise the wheels lose their ability to gain any traction at all.)

Onward.

Spiderspace is set up to accomodate short bits of information sent often--to wit, e-mail. Long e-mails are annoying (long paper letters=good.) And so it is with these posts: short is better. But they must come often, or the totality of the work is considered stale.
I worry what this will do to the brain, accustomed to the flash modality of the music video and the channel surf.
But I'll stick to my guns here by posting something long that I hadn't seen before. It's a piece of writing by James Wright--a prose poem? Not sure where it comes from. I found it in an anthology and it struck me, hard.
Wright is my favorite poet, possessing that combination of erudition and foolish drunkenness, which, to speak stereotypically, are masculine traits (men get sentimental when they are drunk, which drives women crazy.) It's a style that woman can't write in, to do so would be false. So the style is denied us, off-limits, however maddening that is to think.

The Flying Eagles of Troop 62

Ralph Neal was the Scoutmaster. He was still and young man. He liked us.
I have no doubt he knew perfectly well we were each of us masturbating unhappily in secret caves and shores.
The soul of patience, he waited while we smirked behind each other's backs, mocking and parodying the Scout Law, trying to imitate the oratorical rotundities of Winston Churchill as a Southern Ohio accent:
"Ay scout is trusswortha, loll, hailpful, frenly, curtchuss, kand, abaydent, chairful, thrifta, dapraved, clane, and lethcherass."
Ralph Neal knew all about the pain of the aching stones in our twlve-year-old groins, the lava swollen halfway between our peckers and our nuts that were still green and sour as half-ripe apples two full months before the football season began.
Socrates loved his friend the traitor Alcibiades for his beauty and for what he might become.
I think Ralph Neal loved us for our scrawniness, our acne, our fear; but mostly for his knowledge of what would probably become of us. He was not a fool. He knew he would never himself get out of that slime hole of a river valley, and maybe he didn't want to. The Vedantas illustrate the most sublime of ethical ideals of describing a saint who, having endured through a thousand lives every half-assed mistake and unendurable suffering possible to humanity from birth to death, refused at the last minute to enter Nirvana becaused he realized that his scruffy dog, suppurating at the nostrils and half mad with rabies, could not accompany him into perfect peace...
When I think of Ralph Neal's name, I feel some kind of ice breaking open in me. I feel a garfish escaping into a hill spring where the crawdads burrow down to the pure bottom in hot weather to get cool. I feel a rush of long fondness for that good man Ralph Neal, that good man who knew us dreadful and utterly vulnerable little bastards better than we knew ourselves, and who loved us, I reckon, because he knew damned well what would become of most of us, and it sure did, and he knew it, and he loved us anyway. The very name of America often makes me sick, and yet Ralph Neal was an American. The country is often enough to drive you crazy.

Somebody left the comment that I should make the blogness of the blog more bloggy, but it's not really a blog, I don't check in as I should. Plus there is the problem of being populist--writers are supposed to be iconoclastic, not populist, populism taints. However...

I have been thinking about poetry's purpose, having offered brainless nonthoughts about this in the past. Now it seems to me that poetry in fact has many purposes. Here's one, #7, the populist purpose: it is our civic glue. Well, at least for those who want to be glued. Certain poems mark our cultural rites of passage, but: do we still have poems that operate in this manner, the way "Howl" did? Where/what are our public poems now?

There was also Philip Levine's "They Feed They Lion," holding its mirror to the race riots of the 60's.

They Feed They Lion

Out of burlap sacks, out of bearing butter,
Out of black bean and wet slate bread,
Out of the acids of rage, the candor of tar,
Out of creosote, gasoline, drive shafts, wooden dollies,
They Lion grow.
Out of the gray hills
Of industrial barns, out of rain, out of bus ride,
West Virginia to Kiss My Ass, out of buried aunties,
Mothers hardening like pounded stumps, out of stumps,
Out of the bones' need to sharpen and the muscles' to stretch,
They Lion grow.
Earth is eating trees, fence posts,
Gutted cars, earth is calling in her little ones,
"Come home, Come home!" From pig balls,
From the ferocity of pig driven to holiness,
From the furred ear and the full jowl come
The repose of the hung belly, from the purpose
They Lion grow.
From the sweet glues of the trotters
Come the sweet kinks of the fist, from the full flower
Of the hams the thorax of caves,
From "Bow Down" come "Rise Up,"
Come they Lion from the reeds of shovels,
The grained arm that pulls the hands,
They Lion grow.
From my five arms and all my hands,
From all my white sins forgiven, they feed,
From my car passing under the stars,
They Lion, from my children inherit,
From the oak turned to a wall, they Lion,
From they sack and they belly opened
And all that was hidden burning on the oil-stained earth
They feed they Lion and he comes.
___________
I never understood the poem well until I heard Levine explain how he had a job in his youth, doing something like unpacking ball bearings, and one of his black co-workers held up one of the burlap sacks they were using, noting that it was from the zoo. "They feed they lion from they sack." A co-opting of dialect? Yeah, maybe, sure. But probably the most enduring exposition of those times.

Need to work on the first six reasons.

For days, the weather’s gone like this: rainbow squall rainbow squall…ad infinitum. I keep thinking it must stop but it doesn’t. Usually we have a steadiness of one thing or another. Not a steadiness of unsteadiness.

Why it matters is that, because the squalls will short out my electronics, I’ve been living in even more isolation than my usual isolation. The cost/benefit ratio of my going out into the world is pretty high, and I’m always trying to muster the oomph to leave the house. This seems like a queer sort of life, though I often think, well Emily Dickinson didn’t leave the house and she didn’t fret about it.

Then today I read this poem by Charles Simic that approximated the circumstances under which I live.

To Laziness

Only you understood
How little time we have.
Not enough to lift a finger,
Not enough to blink.

The voices on the stairs,
Ideas too quick to pursue—
What did they all matter?
When eternity beckoned.

The curtains drawn,
The newspapers unread.
The keys collecting dust.
My mind was like a motionless ceiling fan,

World-weary, languid
As if the bed was a barge on the Nile,
One red sail in the sunset,
With barely a breath in it.

When I moved at last,
The stores were closed.
Was it already Sunday?
The weddings and funerals were over.

A few sluggish clouds in the sky,
Shadows idling in the doorways,
The patches of waning light
More and more silent and absorbed.

___________________
Lately I’ve been thinking about the value of indirection versus the value of declaration. My mind chooses rainbow then squall then back to bow, and then the “accessible” bow seems childish.

No one should mistake my offhand comments as substantial, though I found it interesting to be the superstratum of a kerfuffle transpiring several layers below me, since the sad fact is...I do not look much at this cyberspatial nooklet. But I did look a little.

Modernism especially lobbied for the imagination's privacy, which I suppose all artists guard (maybe my imagination's not so private because my real life is, now that I don't much go out.) But that privacy hangs balanced against the reader's privacy when he-she sits down with the poem--there are strings that do the hanging, make the balance, and to cut the strings (=disdain the act of communication) was modernism's great disservice. Or so sez me/said me.

Of course, I in turn used to disdain Wallace Stevens. That pompous obscurant whose poems, especially that one about a jar, really twisted my panties. But wait: so how come his are the poems that stick in the mind? Those ones we don't understand? Sticking in the mind would seem to be the best evidence of a populist aesthetic.

These thoughts I thank while sitting on the back porch with my baby sitter (and it's me who must be baby-sat in case calamity strikes) one afternoon of late. It was lovely, though it sounds so phony-baloney, to read Stevens out loud on a fine day. She called my attention to this poem, which I didn't know, and which seems like an elegy to the self, though I don't know whether Stevens wrote it when he was old. It is the last poem in the edition of his selected poems that I own. The meanings and the imagination behind the meanings remain private, though it communicates openly in terms of its simple language and its appeal to the brain's capacity for memorizing:

Of Mere Being

The palm at the end of the mind,
Beyond the last thought, rises
In the bronze decor.

A gold-feathered bird
Sings in the palm, without human meaning,
Without human feeling, a foreign song.

You know then that it is not the reason
That makes us happy or unhappy.
The bird sings. Its feathers shine.

The palm stands on the edge of space.
The wind moves slowly in the branches.
The bird's fire-fangled feathers dangle down.

------
The poem makes a better statement about imagination and privacy than I could make. The poem is also of a piece with his prose statement about the poetry of war.

Life is complicated, because everything connects to everything else, and now with electronica this connectedness is so pervasive that we live in a blur, it seems. Tornado where we are the tiny end of it, but also connected to the giant swirl above.

I've been reading some surrealist poets (namely Dean Young, whose new book is heavily indebted to Kenneth Koch, one of the New York school dudes, who passed away recently. I was thinking: surrealism can embrace comedy, that's what is does well, but what can it do with tragedy, what can it do with war?)

The NY Times reviewed by book last Sunday. It was very quiet here, and I felt like a bee in a cathedral. The reviewer talked about me as comic, and mentioned in particular a poem from my last book, which was a theft of a Koch poem. This is what I mean by the connectedness of it all.

The poem's long (a poem gets long when the connections start spiraling,) but I'll post it here anyway. I can't get the line breaks right--where there's a capital letter, it's supposed to be a new line, as originally written. Small letter means the line was just too long to fit.

One Train May Hide Another
(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line--
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it's best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person's reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you're not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia
Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another--one colonial may hide another,
One blaring red uniform another, and another, a whole column. One bath may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well. And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple--this is a painting
By someone after Matisse. One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses. One identical twin
May hide the other. And there may be even more in there! The obstetrician
Gazes at the Valley of the Var. We used to live there, my wife and I, but
One life hid another life. And now she is gone and I am here.
A vivacious mother hides a gawky daughter. The daughter hides
Her own vivacious daughter in turn. They are in
A railway station and the daughter is holding a bag
Bigger than her mother's bag and successfully hides it.
In offering to pick up the daughter's bag one finds oneself confronted by
the mother's
And has to carry that one, too. So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited. One love may hide another love
or the same love
As when "I love you" suddenly rings false and one discovers
The better love lingering behind, as when "I'm full of doubts"
Hides "I'm certain about something and it is that"
And one dream may hide another as is well known, always, too. In the
Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there. At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities. Reading
A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome. One sidewalk
May hide another, as when you're asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the
foot of a tree
With one and when you get up to leave there is another
Whom you'd have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It
can be important
To have waited at least a moment to see what was already there.