notes on a poem by Dan Bogen

 
Don Bogen writes with a cracked, dry Prairie voice and suggests to some that he’s a latter day Carl Sandburg. Perhaps, but the comparison deals an unfair hand to a good poet, since the late poet’s name evokes certain qualities that are carved in the soft clay of consciousness; should the contrast stick, Bogen will never get fair reading for his own work.He’s obviously influenced by Sandburg, but like any writer with a style he or she can rightly claims is theirs, he's developed a voice wholly his own. He has a particular mastery of negative capability, assuming a guise hardly his own and not of human form at all and manages without winking irony or obnoxious purple passages to describe the construction of a house from the house's point of view .

We see this in his poem  "House".  posted in a 2006 edition of Slate by then=poetry editor Robert Pinsky at Slate.com.A neat trick, a hard one to pull off, since it requires keeping so many things in balance and a great many potential bad writing habits in check. Interestingly, it is a poem about something being built, an architecture that is coming into being rather than the easier ploy of composing a poem to mark the degradation of a landscape, a house, a whole town; writers write so much about things in decline simply because the worse and gamiest things of existence are the easiest to imagine. The final effect of this, we know, is reader weariness over reading yet another poem writ in fits of routine despair or template-constructed ennui. All the polarized words , the sad similes, the morose metaphors about aging, decline, failing eyesight, death blur into one another not unlike one Bill O'Reilly self-deconstruction after another, a sheer babble of grief , and despondency that moves the reader only to turn the page, or close the book they thought might give them a spark. Bogen achieves his problematic task with an efficient set of divisions that has the house quite literally describing the progress of his construction by declaring what it was he was at each stage , with the addition of planks, floor boards, the whirl and grind of band saws and slamming of nails with appropriate hammers, 

I was plaster, I was rubber and glass

My joists, my iron ligaments grew invisibleI took on angles, gable and dormer and plumb back door,

I blocked the wind, I was rooms each linked to another

Ducts and vents gave me unity Women came, their hands on my walls

I was whitewash and would be paint and would wear cloth. 

Equal parts pain and anticipation, the silent yet aware intelligence of the house narrates its own becoming, speaking of said Schmidt only as his builder, his principle designer, assigning him, it might be suggested, the position of an archetypal God , suggesting a culture of houses, created among themselves, a shared cosmology this house shares with "my brothers" who all "stood up in the field". Sandburg wrote the haunted "I Am The Grass" where the obvious message was that all things that come from the earth will, in time, return to the dust from which they symbiotically sprang, and Bogen's poem is a response to this famous ode, giving the reader the message that death is always eternal is and unforgiving, then creation and construction and the embrace of life with all imaginative force is constant and unstoppable. Bogen masterfully embeds that passion to live and create community within the houses we build for ourselves to live in. I am envious of his language, with its sparing use of adjective and overactive metaphor, and I quite admirable at the poetic resonance he provides--the suggestions of qualities and significances that fall just outside the sentence content--using this sweetly idealized plain speak. One of the best poems I've read in this series in a long while.Sandburg is the crisp realist that rob says, but the style, evoking curling paint, eternal autumn and hills full of leafless trees and occasional farm ho uses very often lends itself to greeting card sentiment. The dark side is there, yes, and therein lays his genius, but often times his scenes of Americana reduce themselves to Norman Rockwell paintings. Technical mastery, a huge popularity, an undeniable brilliance, and a conspicuous streak of the corny. The interesting thing about good stage set design is that the two- dimensionality of the props, when done well, make the theater attending to consider the context deeper than had the scenery been ruthlessly "realistic". The abstracted, simplified and stylized look of the scenery, the props works with the text and brings about a theatrical result. Bogen does this rather well; giving the house human speech and having it tell us of its construction, its "birth". All consideration of this being a "real" house go out the window, and we suspend our disbelief long enough to gather some impressions about houses and what we call homes in another way, a perspective not previously available.  

"House" is not merely a detailing of how comes to stand on a particular hillside alongside other homes. The house, in fact, is the narrating persona, a consciousness of a sort that Bogen presents, subtly, as recounting its "birth" and, perhaps, retelling a creation myth. What is implied here--a community of buildings with shared purpose, culture, familial bonding, mythology--are large but smartly kept off stage, conspicuous by their absence. The description of the house in the various states of creation all give indication that there is a fulfilling of a fate here, a sense of predestination the house, in this imagining, is aware of and both accepts and looks forward to.  Let's not generalize too much about the difference in tastes between men and women. The language contains those references that could handily appeal to both sexes, touching lightly on gender stereotypes; the talk of materials, tools, techniques for the men, and the declaration of what kind of home it would be for women. A house, a home more specifically, is made of many elements, and the house's persona speaks to those distinctions.

PETER GIZZI

 I don't know if I'd call Peter Gizzi a Language Poet, though he certainly has affinities with that group of writers. He's closer in style and sensibility to George Oppen or James Merrill, two poets who appeal to me because they have an internal monologue that attempts to assess experience through the objects that represent memory but who, unlike a fellow introvert John Ashbery, prefer a brutally adjective free manner.There is a remove in the approach among these three writers that evokes the dislocation of coming across unfamiliar things and attempting to link the details in some useful way. Gizzi's poem , I think, is like looking inside some one's desk drawer and observing, up close, a layering of items that have been shoved there over a period of time--odd material items gathered together for no singular purpose or reason other than the collection is the doing of one individual; you stop trying to make sense of the pile as a whole and seek, instead , to profile the person, unknown and unseen, who placed the details together in the first place.

THE LOCKET
Peter Gizzi
Here is the ashtray and here
the plastic cup of cool water.


And here is the known world.
As fingers duplicate the event

of hunger. Get up. Go
to the division of various

stories and look for the naked
man beneath the stream be-

hind the house. The same
house that I does not inhabit.

The car is there. The letters
are there. And this street

leads to no particular day.
The way home remains

a mystery to those who are
looking. How else recover

what otherwise is. Lost
to the open. Space between

leaves and stones. Here
also is the neighborhood.

Lost to the open./ Space between leaves and stones./Here also is the neighborhood. The world opens up rather suddenly from the hard, specific detail one inspects and interprets, only to lose it as more details and their nuances align with the first set of assumptions; what was to be a simple explanation of a photograph, a book of matches, an odd sentence written on the back of a business card becomes complex until the accumulation overwhelms the simple timeline one preferred. The particular thing loses significance in a nuanced history that cannot be reduced. Implicit in Gizzi's poem is the idea that any recounting of personal history is something of a fiction: it's the arrangement of vaguely vetted details on which one tells the tale. But what fascinates me here is the disruption of the process--the narrator sounds like he's starting over again and yet again. The objects are concrete, but their meanings are tentative, their positions seem to shift in retelling.There is a gaze here, a tangible poring over of things that are distinct--every object has a story as to how it arrived at the spot upon which you witness it--and it wouldn't be unusual to consider that there is an actual locket, with a photo graph or image of a kind, that itself becomes obscure as other associations are conjured. A house, a place where one lived, a photograph of a man showering naked in a stream behind the house, a familiarity of images that cannot be isolated to specific incident. Something has spurred the clipped stream, and what happens as with most times when one is attempting to assemble a full picture from the dimmest of recollected memories is that the deep past is anonymous.The way home remains a mystery to those who are looking.What attracts me to this is the yearning to know more about the vivid glimpses, and the ache of realizing that the object is beyond your grasp. The observer of the details is denied the certainty of details the objects and their fleeting images suggest and is left, he chooses, to merely imagine what might have happened in the narrative gaps; beyond a certain age, reconstructing the earliest memories of time on earth isn't unlike interpreting what goes in in the unseen narrative leading up to what we have of Sappho's writing. The guess work becomes the work of art.

TOUGH GUYS DON'T WRITE SISSY POEMS

Someone mailed me a poem by poetaster William Espy as their way of saying that poems are, by default, a pompous, elitist and obnoxious breed of ineffectual human; I assume the sender was tired of reading my posts on matters large and small. They thought they could put me in my place, a deed for which I'd be obliged to have them accomplish. Often enough I have no idea if I'm coming or going, of whether I'm advancing an argument, or retreating from something I've already said. If someone asked me where I was coming from, I'd have to answer that I didn't know; I misplaced my map of misreading. But enough of that, here is the Espy verse I was sent:

YOU'D BE A POET, BUT YOU HEAR IT'S TOUGH?

You'd be a poet, but you hear it's tough?    

No problem. Just be strict about one rule:

No high-flown words, unless your aim is fluff;

The hard thought needs the naked syllable.

For giggles, gauds like pseudoantidis-

establishment fulfill the purpose well;

But when you go for guts, the big words miss;

Trade "pandemonic regions" in for "hell".

…Important poems? Oh…excuse the snort…

Sack scansion, then -- and grammar, sense and rhyme.

They only lie around to spoil the sport --

They're potholes on the road to the sublime.

And poets with important things to say

Don't write Important Poems anyway.

Copyright © 1986 Willard R. Espy

I'm not crazy about the Espy poem for the usual reason, it rhymes , it clanks, it clicks, you can here the parts move as you read it. And, despite the notion that Espy is a public poet, accessible, readable, "gettable", this remains a less-loathsome example of a loathsome narcissism among poets in general, a poem about poetry. It is ironic that a poet who bucked the tendency of Modern Poetry to be abstract, coded , enigmatic and self referential would choose to exercise their whimsy on his own medium. This habit, whether requiring an extreme hermeneutics or graspable after first read, is an elitism that has done much, I think, to keep potential readers away from the investigating the craft. It might have something to do that poems like these are the ones that become heavily anthologized or reprinted in various places by editors who are attracted to works that would rather gavotte among it's particulars rather than chance a subject matter a reader would recognize and, in turn, interrogate. The potential reader, wondering if poetry has anything to say to them, picks up a volume and comes across like this, and places the volume down again, thinking that the poets are thumbing their collective nose at those unfortunate enough not to have had good English teachers in high school. It doesn't really matter who writes Poems About Poetry--Language poet, School of Quietude, whimsical rhymesters--it's a sad, involute habit. His readership, though, is not the Ideal reader, the nonspecialist who potentially is interested in poetry and the stylistic perspective the art might bring on how ideas and experience intermingle, but rather other poets , who, as a class of professional, are not likely to change their ways. We have, in essence, something that's more an inter- office memo or motivational talk to boiler room of smile-and-dial telemarketers. It's a clever, wind up contraption that , in it's own way, forsakes the mission of any poet, regardless of aesthetic preference: to be in the world. This is as much an Ivory Tower as anything more elliptical , diffuse. What distinguishes it is the noise all it's moving parts make in their scraping attempt to achieve an effect/

a poem by George Kalogeris

 

"Odysseus
Seeing Laertes"  , a poem by George Kalogeris,  has a burdensome title, if nothing else. We are made to think that a cataclysmic revelation is about to make us quake in our boots, that something had been written in a more formal age has resounded through the historical corridors and asserts its truism as prophecy. This isn't the case,  however, and the portentous title does a disservice to the  poem's real merit, which is more in line with the sort of slight lyric that attempts to clarify a vague feeling but succeeds instead in producing another  kind of beauty. The thinking here appears to be that this poem would resonate louder, brighter, more deeply if there was a classical gloss laid upon it. As there is nothing within the poem that clicks with the oblique title --no reference, that is, that would trigger the reader's own associations independent of a didactic explanation--the reference is merely decoration. The weight it adds isn't inherent significance , but merely freight. It threatens to make the poem ungainly and unspeakably pretentious; the poem, though, survives the author's striving to insert irony where it does not exist.   All this is a pity , since this poem has the makings of being a nicely controlled bit of observational verse, an adult perspective of a distant childhood perception that has, by chance, influenced the narrator as he was growing up; through the fog of memory poet George Kalogeris could have situated the speaker's current state of mind and shown us what it was that made him grasp this faint memory with such a sudden vividness of recollection. I am thinking , of course, that this could have been an intriguing reconciliation between parts of himself that have never quite been at equipoise. 

The poem, though, does work effectively as a snapshot of a something pulled up from one's distant past--there is that sense of someone going through their family photographs, placing them in the best chronological order they can manage. A narrative forms from the sequence, and what emerges in the telling, wonderfully spare at its best , uncluttered (save for the title) with quaint literary props, is a young mind as a blank slate which the world is writing upon. The elements from modern Greek culture aren't in dispute and, in fact, make this an interesting contemporary poem. The weak corollaries with classical texts, though, serve the poem not a wit. Themes of absence/presence regarding parent-child dynamics have fairly much been absorbed by the larger culture have, in fact, become common stock for poets, novelists, and playwrights to make use of; this poem, as is, is fine as an evocation of an adult attempt to bring focus to a diffuse memory and can stand on its merits. It does not need the Classical allusion the title provides; it's window dressing, a redundant signifier, an advertisement that the poet is well-read. The poem does not need it, the reader does not need it, George Kalogeris didn't need to provide it.  This is an alarm bell I've sounded before, tiresomely so; my dislike of poetry about poetry. One of the things that has been choking the life from much of the work of poets these days is the habit of many to clogging the arteries of their stanzas with entirely self-conscious and self-admiring references to poetry and its traditions. Indeed, too much of the subject of poetry has been poetry itself; there are some with genius and talent enough to make the self-referential style swing and sing with real verve and brains, but genius is rare. In this case, anything less than that level of genius--of a Stevens, an Ashbery, a Silliman--is to not be a poet at all. It's a different kind of game, and it is fueled by its own waste products.

SHOULD POEMS BE BEAUTIFUL?

 I like ugly, imperfect, ambiguous art, especially poems, but I also love form, elegance, an ordered pairing of opposing things that once, brought together, gives us a sublime thing indeed. What gets to me is a poetry that gets across what the poet attempts with a mastery of techniques that are true to themselves, not an ideology.Beauty is limitlessly subjective, and as much as a protracted discussion about what constitutes a beautiful object can be, I'm inclined to think that poetry ought to be interesting on its terms, the best effort a poet and his or her craft can create with their talent and personal inclinations. The problem with insisting that a poem should be "beautiful" according to a standard imposes limits on what the poet can do with a work and, in effect, implicitly dictates that a work adhere to requirements that are ill-suited for an emotion, an idea, an event, an experience that would motivate a writer to compose some lines.

The beauty of the best poems I read comes less from their adherence to formalized structures and strategies as it does from those elements that seem to break away from the phrase-making one expects and combine with a writer's honed instincts for developing a rhetoric that allows a poem to stop you for a moment, ponder the phrase, parse the image, appreciate the shifts in tone and sound as layers are added, and appreciate the unexpected places where the stanzas stop, where they jump to, where they land. These are elements achievable in any number of ways. I care less for the aesthetic choice a poet selects from the outset than I do for the results he or she gets when they're finished with work and judge it ready for a reader's appreciation and response. The validity of any idea is in how it works. Henry James said that, in better prose.

"Interesting" might be a mild word, but I used it because I think it encompasses more things for discussion than whether one goes by whether a poem is "beautiful" or not; beauty, I think, is a banal consideration since it funnels one's concentration on the surface qualities of a work. You can discuss only so much about the heroic efforts of writers who desire to make their experiences--or the experiences they would like to have had--stand out because they've mustered up a High Rhetoric and a line of striking, fussed-over images. Beauty, more often than not in my readings, comes down to how well the world is made to harmonize in all its shades, hues, and tonalities, the conversion of notions into ideal types; what makes a poem fascinating, the elements that bridge the gaps between experience, a philosophical position and the word choice which produce, in turn, that effect, the irony, the unexpected perception, gets glossed over. Intriguing poems for me are those that get at the exactness of particular states of mind, shifts in personality, dissonant situations that are uncomfortably linked, and an understanding of what makes these written expressions fascinating makes for a fuller discussion, or debate, as it were. Beauty, for me, is a vague and useless term when applied on such a broad scale--as I mentioned before it's more compelling to discuss how successfully you think a poet is getting across those inexpressible things in terms of the unforgettable.

Too much of the time "beauty" represents a conservative, repressive and reductionist set of conditions that, at their essence, seek to contain whatever socially provocative or critical aspects a work of art, a poem, in this case, might contain and which could be delivered to a readership. Herbert Marcuse saw "beauty" as having become bankrupt a term in the late global capitalist formations after World War 2, and argued in his book "The Aesthetic Dimension" that the role of art is solely to produce joy, that state which comes from a liberated, enlightened condition, and that society's obligation to the artists was to leave them alone. I would agree with him, since what he wanted was a population that could uncover the wit and wisdom of a piece (in a manner of speaking) by considering the particulars artist's obligation is to be truthful to their gift, their talent, and to apply it fully so that the particular sorts of truth they're capable of sensing and sussing out from the dissonant happenstances that, presumably, are not readily gotten by those of us who go to work, have families, struggle with daily things rather than ponder the big questions.

This is Marcuse's point, in that he believes, quite beyond any political or philosophical predisposition regarding the default job and obligation of being an artist, that they are definitely the antennae of the race, that their senses are enhanced by their being poets, novelists, painters, architects and have the ability to make us aware of nuances and intrigues, truths usually not told nor considered. I would agree with Marcuse that the culture would benefit far greater from the work these folks undertook if the rest us changed the conversation about whether the poems, the paintings, the books , the buildings created by these folks adhere to a shackling set of imperatives and instead considered the work on its own terms--what is that the poem, for example, might be saying about a set of contradicting factors, and is the language adequate to the goal of helping you go further than the received reactions a duller aesthetic would have you settle for. It's a dialectic, to advance a singularly unoriginal idea about the process--I don't think the artist delivers a set of redecorated cliches about affirming life that experience proves to be patently false. Yes, the artist ought to challenge expectations, and the audience would need to argue how well the crafts person succeeded in the attempt.

LOUIS GLUCK, RIP

 

Sad day for poetry. 2020 Nobel Prize winner for Literature Louise Gluck (pronounced "Glick”), the first America non-songwriting poet to garner the award since T.S. Eliot in 1948. Bob Dylan, I suppose, ought to be included in that slim roster of bards, but his 2016 award in the category always smelled fishy, more an award for being famous and influential and being a musician who has made indescribable amounts of capital. Small wonder he won, as his work, whether you liked his songwriting or not, could be listened to rather than read. He deserved something of a lifetime achievement award for all the brilliant and nitwit tunes he's both blessed and cursed the world for over a half century. But he is a songwriter, a complaint I lodge often enough here, he is a songwriter and not a poet and the dimensions of what genius has displayed belong in another category. No, I do not think his lyrics transcend their genre and ascend to the vaunted standard of page poetry. If it did, they'd be giving literary awards to composers who specialized in operas . But they don't give awards meant for book writers and page poets to opera composers or songwriters, and they ought not to have given Dylan one. And for the late Gluck? She is someone I admired more than enjoyed, as I was awed by her ability to deal with the history of her own critical times without lapsing into sef-mythologizing or solipsistic meandering. Her writing was clear and lyric, her tone firm but not inflexible, and she could render her personal verse in subtle virtuoso pieces that framed her experiences as bits of recognizable mythology or graspable folk tales. Her clarity gave her best work a certain lyric sharpness not often seen among contemporary poets who, one may suggest, dress up even their good work with linguistic window dressing and fashionable tropes and phrases that age none too well. She wasn't fearing a reader finding out what she was writing about , let alone who. She was the other side of spectrum from John Ashbery, who's closed off signature style is one I sometimes favor quite a bit. But Gluck was different and she was great and now she's gone.

More about Louise Gluck's writing here.

AGAINST THE GRAIN

 

The problem with private laments made public is that too often the concealed sadness and the mixed feelings remain private, the difference being that there is now an audience that needs to puzzle out the encrypted melancholy and inside jokes."Against the Grain" , published in October 2009 in Slate, is a piece where the language isn't enough to empathize with. This is the experience of walking into a room you thought was empty only to find someone already inside, talking to themselves, eyes staring to a distant spot. This

 irreconcilably subdivided poem spends a lot of time muddying the distinctions between things being dragged and those creatures that do the dragging, and author Genwanter adds to this patchy mess pale Latin quotes and the creased, leathery visages of Freud and Jung to confuse things all the more. Given the dedication of the poem to Joy Young, Genwanter's wife from what I understand, "Against the Grain" is an agonizingly ambivalent love letter, conveniently wrapped up with the mock-question toward the end whether he may address her as "Freud Jung"; there are cross currents here Genwanter isn't able to navigate; this poem quickly locates the nearest sinkhole and allow the sheer weight of it's un-mortared allusions take it down into the ground, pass the gas pipes and the water mains.

This is an act T.S.Eliot has already mastered and performed to perfection, succeeding due, most of all, because Eliot was a phrasemaker, a polisher of potent lines. For all the fragmented allusions and elusive centers his poems contain, the poet was quotable, memorable, which makes the task of pouring over and debating his poems a joy; there is in Eliot the instinct that informed him that while he was purposefully not making sense in his work, IE, getting to a fine honed point, he was still required to write clearly enough to create a sense of the psychic states and subtle desolation he felt. One walks away from Eliot's work not knowing what he meant, perhaps, but one certainly grasped the less obvious nuances of how he felt. Genwanter isn't quotable here, he isn't even clever, and he's unable to get the balance between the self-mocking and the dead earnestness that could have made this a workable pastiche; it reads as if he tossed his papers on the lawn and pieced them back together willy nilly after running over the pages several times with a lawn mower. This barely deserves the word pastiche, which implies a skilled blend of disparate elements; this is more like newspaper clippings, snapshots, and shreds of pages torn from classics and diaries, bulging, frayed and clipped together with a twisted paper clip .

A VALENTINE FROM FRANK BIDART

 

photo by Ted Burke

An interesting poem, bearing the name “Valentine”, I suppose, because so much failure to keep solemn promises, lies, thefts and endless manner of behavior that wind up harming those close, beloved, trusted equally rationalized with the evocation of “love”. What we come to read is an emerging realization that the most intimate term of selflessness and dedication to other people is used to keep wives, husbands, children, and generations, latched to and lashed by psychologies that do them ill and rob them of what they can become. It begins in youth, a young man experiencing duplicities in the name of love, and in the righteousness of untested conviction makes a pledge, he says , my case will be different: 

How those now dead used the word love bewildered

and disgusted the boy who resolved he

would not reassure the world he felt

love until he understood love

Conviction gets tested in intervening years and, finding that experience won’t conform to the dictates and conditions of theoretical idealness, the protagonist discovers the need to invent new definitions for old words, that meanings are subjective and change, colored by experience and coined from reflex; he uses love in situations he thought he’d never find himself in, he uses a term he had wanted to keep personally uncorrupted.

Resolve that too soon crumbled when he found

within his chest

something intolerable for which the word

because no other word was right

must be love

must be love 

The hardest task in the world one lives in with others is explaining oneself, of getting across the nuances and finer points in the terms they use; meanings and context get larger, less focused, the ground rules one has set for themselves for authenticity are negotiated, compromised. How one thinks of love becomes private, internal, a condition of being that’s rare and precious and finally incommunicable in terms that are not false. “Love” becomes a short hand for any impulse one has, any obsession that forms and becomes malignant, harmful.

Love craved and despised and necessary

the Great American Songbook said explained our fate

my bereft grandmother bereft

father bereft mother their wild regret

How those now dead used love to explain

wild regret

Banged about, exhilarated, betrayed and betrayer , the protagonist shoulder’s his abused idealism, attempts to be stoic about the pragmatic choices he’s been forced to make with his idealism given a life that took it’s own course despite his plans to discover the meaning of “love” and so use the word unambiguously. But ambiguity is all there is here, and he becomes cynical, debasing and expanding and modifying his beloved term to the degree that words and actions are not coherent and congruent. It’s a sad sequence of snapshots Frank Bidart has given the reader, a compressed tale about the making of cynic who couldn’t sustain a passion for life beyond the disabusing of his optimism. This is compression at its finest, and the sentences take odd turns and twists of implication without an overgenerous supply of biography; this is writing Don DeLillo, who writes the best sentences in American English, would enjoy. Like DeLillo, the history of a particular word is traced and its modulations are succinctly characterized. One may lack a name, one may not know anything in the way of biography, but what makes this poetic is the beauty of the revelations; it unfolds like a bright conversation you’re overhearing where you’ve pieced together the scenario although you lack the back-story. The effect is that you recognize something you’ve seen elsewhere. It is the shock of recognition.

POE

It would be a mistake to approach Edgar Allan Poe with the expectation that there’s a solid intellectual argument occurring in his poems. He might insist that there is, in his essays like “Eureka” that have been unearthed over the decades by scholars trying to bring the poor Poe man up to par with the smartest literary sorts, but the fact is that Poe was not much of a thinker. In any case, I think it is a mistake to approach Poe with the expectation that there’s a solid intellectual argument occurring in his poems. He might insist that there is, in his essays like “Eureka” that have been unearthed over the decades by scholars trying to bring the poor Poe man up to par with the smartest literary sorts, but the fact is that Poe was not much of a thinker.

He was a virtuoso of leaping rhyme and alliteration and had a chiming quality that could suggest the phonic equivalent of fifes, flutes, bells and other kinds of sparkling effects. But he was also a genius of mood, despair, and obsession. Much of the time, what the artist explores and renders exposed in terms of material we learn from is not the result of conscious decision. (One does admit, though, that his dissociation of sensibility in the sheer sensory overload of decay that made his metaphors and similes ripe with rot likewise sacrificed sense and logic and as often as not became a species of hackwork. An exercise in hackwork, the writer of which tried to elevate to greatness by extreme bouts of overwriting the same limited scale of ideas.) “The Raven”, “Lenore”, “Annabelle Lee” are fairy tales for depressives. Explorations into a world where everything has run down and had the joy sucked out of it; the correlation with the bruising details of his own rearing is obvious enough.

Poe was a precursor of decadence to come, through which beauty had been redefined as something being achieved only at a living thing or object’s point of decay. Poe’s poetry (and stories) gave rise to the notion that funeral detail and a desire for the last nap called death are attractive and to be desired. Suggesting that the dark side was actually a means to achieving a higher aesthetic being. Poe’s work is about disintegration in all manner, where expertly honed rhymes and rhythms of his writings disguise but then reveal the burning, churning glory of pure form, energy, freed from the bondage of corporeal existence. He wrote quite a few essays outlining these ideas, particularly “Eureka” and “The Philosophy of Furniture”. In his fiction, “The Fall of the House of Usher” is his most vivid and brilliant realization of his idea of metaphorical entropy. He was a virtuoso of rhyme and alliteration and had a chiming quality that could submit the phonic equivalent of fifes, flutes, bells and other kinds of sparkling effects. But he was also a genius of mood, despair, and obsession. Much of the time, what the artist explores and renders exposed in terms of material we learn from is not the result of conscious decision. “The Raven”, “Lenore”, “Annabelle Lee” are fairy tales for explorations into a world where everything has run down and had the joy sucked out of it; the correlation with the bruising details of his own rearing is obvious enough.

In one of his essays, Edgar Allan Poe summarizes one essential element of his philosophical musings by asserting that we are cursed with “the memory from before birth”. A slight and wavering recall of a time when calm and serenity were in place and there was nothing like distortions or crass money, family, or religion to make us nervous or devious; only half alive (if “alive” at all). The upshot of his baroque hypothesizing was our constant and at times overwhelming desire to return to such a nocturnal, darkened, stressless state; perhaps even return to the womb. In any event, his misgivings were a desire for sleep from which one needn’t wake up from; death, in other words.

Received message. Here is the corrected text: It would be a mistake to approach Edgar Allan Poe with the expectation that there's a solid intellectual argument occurring in his poems. He might insist that there is, in his essays like “Eureka” that have been unearthed over the decades by scholars trying to bring the poor Poe man up to par with the smartest literary sorts, but the fact is that Poe was not much of a thinker. In any case, I think it is a mistake to approach Poe with the expectation that there's a solid intellectual argument occurring in his poems. He might insist that there is, in his essays like “Eureka” that have been unearthed over the decades by scholars trying to bring the poor Poe man up to par with the smartest literary sorts, but the fact is that Poe was not much of a thinker. He was a virtuoso of leaping rhyme and alliteration and had a chiming quality that could suggest the phonic equivalent of fifes, flutes, bells and other kinds of sparkling effects. But he was also a genius of mood, despair, and obsession. Much of the time, what the artist explores and renders exposed in terms of material we learn from is not the result of conscious decision. (One does admit, though, that his dissociation of sensibility in the sheer sensory overload of decay that made his metaphors and similes ripe with rot likewise sacrificed sense and logic and as often as not became a species of hackwork. An exercise in hackwork, the writer of which tried to elevate to greatness by extreme bouts of overwriting the same limited scale of ideas.) “The Raven”, “Lenore”, “Annabelle Lee” are fairy tales for depressives. Explorations into a world where everything has run down and had the joy sucked out of it; the correlation with the bruising details of his own rearing is obvious enough. Poe was a precursor of decadence to come, through which beauty had been redefined as something being achieved only at a living thing or object's point of decay. Poe's poetry (and stories) gave rise to the notion that funeral detail and a desire for the last nap called death are attractive and to be desired. Suggesting that the dark side was actually a means to achieving a higher aesthetic being. Poe's work is about disintegration in all manner, where expertly honed rhymes and rhythms of his writings disguise but then reveal the burning, churning glory of pure form, energy, freed from the bondage of corporeal existence. 

He wrote quite a few essays outlining these ideas, particularly “Eureka” and “The Philosophy of Furniture”. In his fiction, “The Fall of the House of Usher” is his most vivid and brilliant realization of his idea of metaphorical entropy. He was a virtuoso of rhyme and alliteration and had a chiming quality that could submit the phonic equivalent of fifes, flutes, bells and other kinds of sparkling effects. But he was also a genius of mood, despair, and obsession. Much of the time, what the artist explores and renders exposed in terms of material we learn from is not the result of conscious decision. “The Raven”, “Lenore”, “Annabelle Lee” are fairy tales for explorations into a world where everything has run down and had the joy sucked out of it; the correlation with the bruising details of his own rearing is obvious enough. In one of his essays, Edgar Allan Poe summarizes one essential element of his philosophical musings by asserting that we are cursed with “the memory from before birth”. A slight and wavering recall of a time when calm and serenity were in place and there was nothing like distortions or crass money, family, or religion to make us nervous or devious; only half alive (if “alive” at all). The upshot of his baroque hypothesizing was our constant and at times overwhelming desire to return to such a nocturnal, darkened, stressless state; perhaps even return to the womb. In any event, his misgivings were a desire for sleep from which one needn't wake up from; death, in other words.

MEANING AND MURK

 

Experimental poetry, once a form that challenged established verse writing in both form and aesthetic, has shaped the history of Western Poetry. Throughout time, daring and expansive poetry has influenced younger poets, eventually becoming the new standard and displacing the old guard. This ongoing cycle of experimentation and rebellion has persisted since the emergence of literate individuals seeking to convey profound inspirations through language that surpassed mere description. However, what we witness today is a recycling of previous Avant Gard ideas and gestures, with slight modifications? The norm has become experimentation itself.

Yet, amidst this landscape, a group of poets known as the New Formalists have emerged. These poets, weary of free verse and open forms, choose to compose rhymed poems with traditional meter. Their presence and potential to undermine the hegemony of the experimental tradition have sparked controversy. Each individual is entitled to their preferences in literature and their critical rationale for appreciating particular forms of expression. Emotional responses, subject to marginalia and deformation, take on a poetic quality of their own. While they may not capture the essence of our fluid states of being, they allow us to engage with our recollections through a lexicon that momentarily aligns with our perceptions. This poetic guesswork, never definitive, perpetuates the dissension among those who eagerly await their turn to speak their worlds into existence. Nonetheless, it brings an indispensable quality—our love for the process of using language that mirrors the fluidity and unpredictability of experience.

Personally, I am drawn to poetic writing that possesses the rare quality of being both fresh and unique. I am less concerned with the theoretical aspects of a poem, whether experimental or traditional, and more interested in how it resonates and functions. If a poem evokes satisfaction in its readers, it becomes worth exploring the artistic endeavor undertaken by the writer—bringing skill and spontaneous inspiration to bear on the page. Poets such as Ron Silliman and John Ashbery have captivated me with their indirect approach to expressing life's complexities. Similarly, Thomas Lux and Dorianne Laux have invited me to follow their lines of thought, leading to unexpected and extraordinary results.

AFTER THE FACT, a poem by Mary Jo Bang

 Poet Mary Jo Bang has the unique ability to write a polemical poem that is both a superb example of straight talk-there is not mistaking her fevered sentiment for anything else--and an elegant sample of exquisitely placed similes and metaphor The power of "After the Fact" comes from the first lines, a narrator setting up the world he/she lives like it were subject to templates from which only tragic outcomes can result. The sin of this all, the source of the outrage, are the actors in the self-limiting melodramas--buffoons peacocks, egomaniacs, narcissists with trigger fingers mistaking the contrived circumstances of their cause for the way things required to go.

Sleep tight, you martyrs.

And you criminals who killed for a narrow share

of power and a few rotten spoils.

Enough is enough.

This is very tough stuff, an indictment with a sting, an x-ray to the heart of the matters; while those who wage wars justify their aggression in the many slippery rationalizations that seek "justice" through a rhetorical back door, the results of their righteousness, their efforts to set the world right, only make the tragedies worse. The calamity multiply, the genocides continue, the planet darkens even more and becomes unlivable-the only thing that seems to renew itself is the rhetoric that proclaims a vision of aggressive human perfection, a heaven here on earth, while the heart grows harder, colder. The fatal schemes, the complete waste of what's best in this existence, contract not just the heart, but makes the universe appear to shrink to a burned out cinder.

The corners converge, causing the globe to grow smaller

than all of time times space divided

by every petty difference.

The center would not hold for Yeats; it contracts for Mary Jo Bang, become a flaming ball of contentious bad faith. It's a simple morality tale, a simple but profound choice that each of us needs to make, to make decisions exclusively based on self-seeking, or to help others, create community, cooperation. Bang's poem/polemic provides the profound example of selfishness when it's codified with a language that adopts some leaner rhetoric of justice, peace, and harmony and uses the terms to rationalize an institutionalized State of War. It is the tragedy of trying to make the mystery of life comprehensible through fear-- investigating the life and ways of a Villainized Other is to trade with the Devil.

The girl newly dead on the sidewalk says,

"Excuse me, but—

what kind of moral force is brute moral force?"

The poem can be said to lack subtlety, but a muted message in this instance could be so finely wrought that even an informed reader would miss the point in searching for clues among the ambiguities. This has the brilliant, placard bearing power of Ferlinghetti's political poems, particularly "I Am Waiting"; it is a succession of one lines and witticisms that crystallize the crisis and makes it memorable. This is a poem meant to get you thinking about something besides whether it works as a poem. It does just that.

I don't think Bangs' poems encourages passive martyrdom of any kind, if I understand your question correctly. It has more the feel of a scaled-back soliloquy delivered in the last act of a Greek Tragedy, the summation presented while the evidence is plainly visible, undeniable, to anyone who might have been involved in debating war and power-grabbing in the abstract. The poem operates under the assumption that the evil doers--politicians, generals, corporations--are shamed to silence while the damnable curses are cast, but beyond this minor suspension of disbelief --politicians, generals and corporations won't reform themselves and seek justice rather than justice as the result of a good scold--we realize the poem isn't intended for the perpetrators of misery, but the citizens who've been seduced by a well-oiled propaganda.

We are governed solely by our consent, and the further implication is that the governed population's failure to hold their representatives to a higher, more consequential standard is just as responsible for the grim tales told here. Our songs, our campaign slogans, our policy discussions are geared to assure us that the greatest good is the intent, and that it surely will be the result. Mary Jo Bang's speech--and that is what this is, finally, a speech--shows the reader that there are leaders elected in our name who are singing of their esteemed virtues while everyone else can see the devastation they leave in their wake.

A POET IS NOT NECESSARILY A NICE PERSON

 Ezra Pound, was a politically reprehensible and one of the worst major poets of the 20th century. Traitor, reactionary, race-baiter, I have no sympathy for a man whose ambition had more to do with having power and influence over whole populations rather than poetry itself. He was, though, an idea man about the craft and art of the poem, and some of his criticism remains relevant. The way we discuss the quality and function of the image and the modifiers that do and do not attend it in context draw heavily from his notions about ridding ourselves of the weight of literary history and devising a poetics that can can help the reader perceive the world in new ways.  Pound didn't want to stop there, of course, he desired to rule the world and aspired to be The Boss. A bully and self-aggrandizing creep he may have been (and traitor) but some of the ideas, at least, had value. He wanted poets to have the trifecta of prestige items with power, the pen, the scepter, the   sword.

 Eliot, Thomas Stearnes, was allied to Pound as an antisemite and race baiting neurotic who disguised his bigotry in a tradition of genteel Classicism, but I will defend him as a poet; too much of his images, his cadences, his drifting allusions hit the mark ; he is one of those writers who had an especially strong gift for getting the elusive essence of alienation, dread, spiritual desolation in a dehumanizing culture in his poems without turning them into padded, freighted dissertations. It is one of the tragedies of contemporary literature that Eliot, whom I think is one of the strongest poets of the last century, should happen to be, politically, a callous and malicious monster. Even dried up white guys who are lousy with nonwhites and can barely conceal their frothing anti-antisemitism can, at times, describe a mood or provide nuance to circumstances that transcend their repulsive politics and personalities. 

BILLY COLLINS, HEAD BANGER

 Former U.S. Poet Laureate Billy Collins, in a 2016 chat with a Wall Street Journal reporter, talked about “banging his head” against the likes of Joyce, Pound and their attendant difficulties and his eventual decision to align himself with poets like Philip Larkin and Robert Frost and “poets, who dare to be clear.” Superb models to use if you're aspiring to write in contiguous sentences, unmarred by needless line breaks. Poetry readers should be grateful that Collins found his voice in the place where the conversations are actually happening, in the world and not the rheumy chambers of a book-addled soul. Difficult poetry that is actually good is difficult to write, and there are only a few among the millions who do so who actually deserve attention, praise, and continued discussion. At this stage, it becomes increasingly the case that there are far too many poets in the world who are trying to out-perform Stevens, Eliot, Stein, Olson in pushing the limits of poetry; the last group I paid attention to who managed difficulty that intrigued, provoked and which stopped making sense in a variety of works that made younger poets like myself examine the tropes I was using and attempt, with some success, to put it back together again, perception and images in newer works that come out just a little more out of the long shadow of previous and still present genius. 

Billy Collins on Being an Only Child, and Why Majoring in Poetry Is Like Majoring in Death – Speakeasy - WSJ:

So thank you LeRoi Jones, Ron Silliman, Rae Armantrout, Paul Dresman, Bob Dylan and a few dozen others read in fifty years of reading for helping me, no, forcing me beyond my self-entombing idea of genius and moving me closer to the public square. No longer a younger poet stumbling in his attempts to master what seemed to be the fashion at hand, I'm old enough to accept the less stringent view that the only criteria for judging a poem's style, format, complexity and other such matters is in how well it works on the reader who is reading it? Difficult or clear as glass, does the poem make a music one wants to understand? 

Billy Collins, of course, has his own amazingly effective style of clear poetry, and it's a marvel to read how he begins with a scene, a situation performing what is often a banal household task--listening to jazz, paying bills, a drive in the country, a bit of coffee in the city--and then a reverie of a sort, a memory triggered by some inane object, a recollection often seasoned with a light application of Literary Reference, just enough to expand the notion or expose a contradiction in his assumption (the insight often being a dead sage's warning or mere reflection about matters of pride and exaggerated expectations)And then there's a seamless transition to the scene from where he began his writing, the material world unchanged but, for the rumination that we've just read, is not the same as it was. His genius and flaw are the same heightened talent, his ability to produce these compact missives of everyday wonderment continuously. That's not to denigrate his skill at writing them, as the economy of his language, the resourcefulness of his imagination to find new twists and inlets within the limits of his style, and the genuinely resonating effect of his phrase-making mark a writer who works his pieces; he is a professional, aware of his audience, aware of his materials, an artist who refuses to let any of his ideas get muddied by the pretense   of deeper intimations. William Carlos Williams had the view that the thing itself is its own adequate symbol. Whatever one seeks to describe in the world one sees is already complex. Collins, more so than Williams, explores connections, fleeting though they are, of the things around the world his imagination creates a frame for when he departs from home. His strategies, of course, are more varied than what I've described, but this is a recipe he uses as often as not, a template he can expand, revise, contract at will, a habit he does splendidly. This makes him a good artist, a good craftsman, but it is also something that makes me want to call him a writer rather a poet.

He is, I think, the equivalent of the old school local newspaper columnist who would, twice or thrice a week, write 700 words or so about something in the news, in his life, whatever comes to mind, who would end his reflection that effectively left the reader reassured and just a little confused as to the purpose of that day's topic. The secret, though, was less to give meaning to the community one recognizes, but rather create the sense of texture. Columnist and poet Collins have skills that remind of things that you cannot quite put a finger on--something is lost, something     is joyful, something is sad or funny, but how, why, what is it?

I might mention as well that Collins' work seems to be a sequence of experiences that are uninterrupted by work situations. Others can, I imagine, provide me with poems of his where work is an element, a strong one, perhaps even the subject of the poem, but it occurs to me that Collins, at least in many of his poems, is a flâneur, a walker in the city, a watcher, the character who observes, records, relates the isolated bits of daily experience, testing the limits of his ideas, constantly re-acquainting himself with his fallibility. Please don't mistake that for a bad thing. It's nice work if you can get it.

KITTY CORNER

 I love cats as much as the next premature curmudgeon, and I can't help but think that Christopher Smart is half pulling our collective leg with his rock-slapping waves of adulation for his cat. Years ago I wrote a poem called "The Praying Mantis" that was a list of self-contained sentences, each beginning with the title phrase and then completing itself with a some qualitative drivel; the point was, of course, was to lampoon the baroque phrased claims you come across in self-penned biographies, press releases or eulogies that overshoot the commemorative mark. The challenge was to see how many fresh takes I could get starting from the same premise and at what point would I sense that I was done, winding up the sequence on a diminished, perhaps exasperated note?

The praying mantis returns no phone calls,

The praying mantis will not shake your hand,

The praying mantis does not pay sales tax,

The praying mantis had been to the moon and found it drab and without a bar,

The praying mantis ignores streetlights and no smoking signs,

The praying mantis does not hear what you have to say,

The praying mantis is the other side of the story,

The praying mantis loves a hammer with sturdy, curved claw,

The praying mantis will have lunch when he's done with you,

The praying mantis is a close, friend of Sammy Davis Jr.,

The praying mantis directs traffic until it's an atonal film score,

The praying mantis says nothing but means volumes,

The praying mantis cured cooties and shared it with no one…

The litany went on another sixty lines, until the absurdity grew tiresome, or my imagination failed, or both, but the point is that it was interesting to witness the momentum one could get attributing massive potential to things of seeming small consequence. I was interested in how the praying mantis could, by his lack of interaction with the larger human world, could seem, given the colliding box car cadence, seem a larger, more powerful force, one mere mortals should respect lest his restraint fall and said insect really show us what for. I had been thinking of every cliché portrayal of hip and badass cool I had come across, from junkie jazz geniuses, the Beats, white Negros and tortured renditions of existential cool; the sort of man who so agrees with himself-in-the-world that he is privy to great amounts of power, but that power is with held because there is no need for an ostentatious display. In other words, a state so slippery that attempts to describe it accurately result in growing amounts of absurdity, some of it baffling. Smart, it seems, wants the habits of his cuddly kitty to embody something purposeful with the divine, to reveal a connection with a heavenly agenda that our intellect prevents us from sensing much of the time but which a cat, with senses tuned like delicate instruments, can pick up on and be affected by.

For then, he leaps up to catch the musk, which is the blessing of God upon

**his prayer.

For he rolls upon prank to work it in.

For having done duty and received blessing, he begins to consider himself.

For this, he performs in ten degrees.

For first he looks upon his forepaws to see if they are clean.

For secondly he kicks up behind to clear away there.

For thirdly he works it upon stretch with the forepaws extended.

For fourthly he sharpens his paws by wood.

For fifthly he washes himself.

For sixthly he rolls upon wash.

For seventhly he fleas himself, that he may not be interrupted upon the beat.

For eighthly he rubs himself against a post.

For ninthly he looks up for his instructions.

For tenthly he goes in quest of food.

For having considered God and himself he will consider his neighbor.

For if he meets another cat he will kiss her in kindness.

For when he takes his prey he plays with it to give it a chance.

For one mouse in seven escapes by his dallying.

For when his day's work is done his business more properly begins.

For he keeps the Lord's watch in the night against the adversary.

For he counteracts the powers of darkness by his electrical skin and glaring eyes.

For he counteracts the Devil, who is death, by brisking about the life.

There is a belief that there are absolutely no coincidences in God's Universe , that nothing, nothing at all happens my mistake, that what people and creatures do is , to greater or lesser degree, the result of a divine intervention against our baser natures. One can see why Smart was inspired by his cat, cats being a creature that, while domesticated, still seem independent, engaged with invisible forces, acting in accordance to stimulus humans have little or no capacity to discern.

Smart injects so much purposefulness and subtle intent in his cat's movements that assuming that he's using the creature to mirror his self-image is unavoidable. Or at least something to consider as one pursues alternative readings. He seems to be writing about his own lazing about, it seems, his own time eating, musing, writing, taking walks, talking , just being rather than doing something more active, productive and profitable. His cat is connected to a spiritual path, or at least he sees hints of it with each lick, purr, fur ball and odd reclining angle, and mounts an indirect argument that his very being, those times when he is thinking of the connections between stationary objects, the contemplative mode, is precisely how his God intended him to be in this life. Arguing that God didn't want me to work is something I've never had the nerve to try.

Some had commented elsewhere that these might be called "attention poems", something I like the sound of.I like "attention poem", as in a particular thing--creature, object--getting an unusual and , I think , unexpected focus. I'm one of those who thinks that citizens come to know the world through addressing it formally, "knowing", in this sense, being more than a formal recognition of origins, functions, and utility; imbuing a mantis, a cat, a building with qualities alien to them is a way of developing an intimate relationship with those things that might otherwise be problematic. We give them extraordinary qualities through a fanciful rhetoric, itself distorted and careening along the tracks so that they may become ordinary to us. It may be a shamanistic ritual transposed to the written word, an exercise of the will to imagine a realm of metaphysical propositions in an effort to assimilate a bit of the virtue and power the tropes would imply. It would seem a way of making that which is ultimately unknowable--the thing in itself--less of a concern and more an asset in our way through the day, the weeks, the months, the years.

Thinking again, the use of the word "ordinary" doesn't do justice to Smart's evocation. Nothing in the way Smart describes his cat seems an attempt to reduce something in size. A better phrase would have served the point better, which is my feeling that Smart, on some level, was trying to associate himself with the subtle and sublime qualities he attributes to his dear cat and, perhaps , have those same graces become a part of himself. You could also assert that the very act of sensing these things in his pet and having the language mastery to sufficiently align the motion with the spiritual nuance and attending effect comes from an innate quality, that these conditions already exist within Smart . He would be, then, be in the act of recognizing what he already knows , that part of the shared condition within his God's universe that is within himself and the living things around him. Not that the poem is meant to be the beginning of a campaign toward universal spiritual suffrage for all creatures great and small, but his close reading of Jeoffry's manner offers an enticing clue to his greater cosmological sense.