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Showing posts with label POEM OF THE DAY. Show all posts
Showing posts with label POEM OF THE DAY. Show all posts

POEM OF THE DAY -- "may i feel said he" by e. e. cummings

This poem just delighted me.  There's a reason why ee cummings poems hold up over time, and why ee cummings image holds up over time.  After all, it is nearly 100 years since he began writing poetry.

EE cummings is accessible today.  What I mean is that he is probably more accessible today than he was in the present tense back in 1932.  He was popular, but WAY ahead of his time, considered eccentric.  But in addition to his wonderful innovative poetry, look at his pictures.  His intellectual good looks, interesting FASHION sense, which would be considered very fashionable even today -- his hair, sideburns, etc. -- quite the intellectual rebel image.

Well, enjoy this poem.  Nearly 100 years old now; it holds up quite well.  And as usual, cummings captures the feel.  He puts you on the bed.

A tribute to love.  A humorous tribute to the human mating ritual.

A window into two loving souls.

may i feel said he

by e e cummings

may i feel said he
(i'll squeal said she
just once said he)
it's fun said she

(may i touch said he
how much said she
a lot said he)
why not said she

(let's go said he
not too far said she
what's too far said he
where you are said she)

may i stay said he
(which way said she
like this said he
if you kiss said she

may i move said he
is it love said she)
if you're willing said he
(but you're killing said she

but it's life said he
but your wife said she
now said he)
ow said she

(tiptop said he
don't stop said she
oh no said he)
go slow said she

(cccome?said he
ummm said she)
you're divine!said he
(you are Mine said she)

POEM OF THE DAY - "Venus Anadyomene" by Arthur Rimbaud





Arthur Rimbaud is one of the most influential French poets of the 19th century.  His unusual free-verse style of poetry has served as a primary influence to many of the great poets and artistic movements of the 20th century including French Symbolism, Surrealism, Beat counter-culture, and Jim Morrison, Bob Dylan and Patti Smith.
His name is frequently associated with counter-cultural movements and schools of thought; this is because he himself was counter-cultural in his day.  His poetry is inspired and suggestive; his personality was caustic and unstable. Though brilliant, during his life his peers regarded him as unsophisticated, arrogant, and perverted.

We have included several of Rimbaud's poems in the eNothing blog; including "The Drunken Boat" which stands as a "Top 100 of all time" entry.  You can search for them easily.

Enjoy the ulcer.

Venus Anadyomene

by Arthur Rimbaud

As from a green zinc coffin, a woman’s
Head with brown hair heavily pomaded
Emerges slowly and stupidly from an old bathtub,
With bald patches rather badly hidden;
Then the fat gray neck, broad shoulder-blades
Sticking out; a short back which curves in and bulges;
Then the roundness of the buttocks seems to take off;
The fat under the skin appears in slabs:
The spine is a bit red; and the whole thing has a smell
Strangely horrible; you notice especially
Odd details you’d have to see with a magnifying glass…
The buttocks bear two engraved words: CLARA VENUS;
—And that whole body moves and extends its broad rump
Hideously beautiful with an ulcer on the anus.

POEM OF THE DAY -- "Skid Row Wine" by Jack Kerouac

Have you ever romanticized the ancient "bums" of yesteryear? I have.  I've placed myself in their shoes, feeling the soul, feeling the real blues.

In my mind.

Back in the day, an element of American society began to align themselves with a soulful, sad part of society, for it inspired art and was very real; not contrived or artificial - not CONSTRUCTED.  It just was.  The homeless, the bums, the broken, the lost -- these outcasts were embraced by artists and musicians and writers as a sort of inspiration.

Kerouac helped to usher in the modern era, spawning folk music and beatniks and rock and roll and punk movements, opening up society to a different way of thinking.  The hippie movement, punk, grunge...all came from his willingness to lay it out there.

Here's an ode to escape.  For some, wine may be hard to connect with; in this case I would suggest substitute the words "drinkin wine" for "smokin weed". 

SKID ROW WINE

by Jack Kerouac

I coulda done a lot worse than sit
in Skid Row drinkin wine

To know that nothing matters after all
To know there's no real difference
between the rich and the poor
To know that eternity is neither drunk
nor sober, to know it young
and be a poet

Coulda gone into business and ranted
And believed that God was concerned

Instead I squatted in lonesome alleys
And no one saw me, just my bottle
and what they saw of it was empty 

And I did it in the cornfields & graveyards

To know that the dead don't make noise
To know that the cornstalks talk (among
one another with raspy old arms)

Sittin in alleys diggin the neons
And watching cathedral custodians
Wring out their rags neath the church steps 

Sittin and drinkin wine
And in railyards being devine

To be a millionaire & yet to prefer
Curling up with a poor boy of tokay
In a warehouse door, facing long sunsets
On railroad fields of grass

To know that the sleepers in the river
are dreaming vain dreams, to squat
in the night and know it well

To be dark solitary eye-nerve watcher
of the world's whirling diamond
 

Poem of the Day - "A Boat Beneath a Sunny Sky" by Lewis Carroll (from Alice in Wonderland)

Alice Liddell (L) and Lewis Carroll (R)
Ah, the iconic masterpiece, Alice in Wonderland.  So much has been read into the story by Lewis Carroll (Charles Lutwidge Dodgson), a legendary work with so much speculation -- analysis of metaphors and hidden meanings.  The inspiration of so many pop culture iconic works of art and literature(James Joyce, Nabokov, Joyce Carol Oates, and yes, "I am the Walrus" by John Lennon and the Beatles was inspired by "Alice").

Did you know that "Alice in Wonderland" and "Through the Looking Glass" were inspired by a real girl, named Alice?  This is NOT conjecture.  Her name is Alice Pleasance Lidell, and she is well known as the little girl who inspired Carroll to write the story.

The following poem is an excerpt from the novel written by Lewis Carroll.  Notice that it is an "acrostic" poem, and read the first letter down to the bottom!

Cool!   

A Boat Beneath a Sunny Sky

By Lewis Carroll

A boat beneath a sunny sky,
Lingering onward dreamily
In an evening of July--

Children three that nestle near,
Eager eye and willing ear,
Pleased a simple tale to hear--

Long has paled that sunny sky:
Echoes fade and memories die.
Autumn frosts have slain July.

Still she haunts me, phantomwise,
Alice moving under skies
Never seen by waking eyes.

Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near.

In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:

Ever drifting down the stream--
Lingering in the golden gleam--
Life, what is it but a dream?

POEM OF THE DAY -- "Father Dear" by E E Cummings

E.E. Cummings is well recognized as one of the most influential and popular poets of the 20th Century.  His body of work encompasses more than 2900 poems, 2 Novels, four plays and several essays, as well as numerous drawings and paintings.  Despite his first novel being critically acclaimed by such as F. Scott Fitzgerald, it's his poetry and quotes which live on in infamy and popularity.

Cummings' work is most recognized by his inventive use of punctuation, grammar and syntax, as well as the first poet to experiment and perfect the actual placement and appearance of the words upon the page.  This actually became evident even at the remarkable age of 6 years old, in which what many believe was his very first poem, written to his father.

The picture on the right is of a young Cummings with his father and sister on a hammock...

It's actually remarkable that this poem was preserved or discovered!

Enjoy this precursor of things to come:


FATHER DEAR 

By EE Cummings (age 6)

FATHER DEAR. BE, YOUR FATHER-GOOD AND GOOD,

HE IS GOOD NOW, IT IS NOT GOOD TO SEE IT RAIN,

FATHER DEAR IS, IT, DEAR, NO FATHER DEAR,


LOVE, YOU DEAR,


ESTLIN

Poem of the Day -- "Sunday Morning" by Wallace Stevens

This is one of Wallace Stevens earliest poems - at the time it was an early breakthrough for Stevens; the poem was published in an early edition of "Poetry" magazine.  This poem is atypical of a Stevens poem; it is very structured and rhythm is just as important as his choice of wordplay in the abstract..in fact rhythm is far more important.

This emphasis on structure and rhythm is not really unusual though; many poets can look back at their earliest works and see more traditional approaches to the art, as they find their "wings" so to speak.

Stevens deeply contemplative, philosophical vision is there, though.  A poem about (and of doubt) the existence of God, paradise and the world of man that challenges traditional assumptions...it's a beautiful piece of work by a monumental poet!

Enjoy!

Sunday Morning

By Wallace Stevens

 
I


Complacencies of the peignoir, and late

Coffee and oranges in a sunny chair,

And the green freedom of a cockatoo

Upon a rug mingle to dissipate

The holy hush of ancient sacrifice.

She dreams a little, and she feels the dark

Encroachment of that old catastrophe,

As a calm darkens among water-lights.

The pungent oranges and bright, green wings

Seem things in some procession of the dead,

Winding across wide water, without sound.

The day is like wide water, without sound,

Stilled for the passing of her dreaming feet

Over the seas, to silent Palestine,

Dominion of the blood and sepulchre.



II


Why should she give her bounty to the dead?

What is divinity if it can come

Only in silent shadows and in dreams?

Shall she not find in comforts of the sun,

In pungent fruit and bright, green wings, or else

In any balm or beauty of the earth,

Things to be cherished like the thought of heaven?

Divinity must live within herself:

Passions of rain, or moods in falling snow;

Grievings in loneliness, or unsubdued

Elations when the forest blooms; gusty

Emotions on wet roads on autumn nights;

All pleasures and all pains, remembering

The bough of summer and the winter branch.

These are the measures destined for her soul.



III


Jove in the clouds had his inhuman birth.

No mother suckled him, no sweet land gave

Large-mannered motions to his mythy mind.

He moved among us, as a muttering king,

Magnificent, would move among his hinds,

Until our blood, commingling, virginal,

With heaven, brought such requital to desire

The very hinds discerned it, in a star.

Shall our blood fail? Or shall it come to be

The blood of paradise? And shall the earth

Seem all of paradise that we shall know?

The sky will be much friendlier then than now,

A part of labor and a part of pain,

And next in glory to enduring love,

Not this dividing and indifferent blue.



IV


She says, “I am content when wakened birds,

Before they fly, test the reality

Of misty fields, by their sweet questionings;

But when the birds are gone, and their warm fields

Return no more, where, then, is paradise?”

There is not any haunt of prophecy,

Nor any old chimera of the grave,

Neither the golden underground, nor isle

Melodious, where spirits gat them home,

Nor visionary south, nor cloudy palm

Remote on heaven’s hill, that has endured

As April’s green endures; or will endure

Like her remembrance of awakened birds,

Or her desire for June and evening, tipped

By the consummation of the swallow’s wings.



V


She says, “But in contentment I still feel

The need of some imperishable bliss.”

Death is the mother of beauty; hence from her,

Alone, shall come fulfilment to our dreams

And our desires. Although she strews the leaves

Of sure obliteration on our paths,

The path sick sorrow took, the many paths

Where triumph rang its brassy phrase, or love

Whispered a little out of tenderness,

She makes the willow shiver in the sun

For maidens who were wont to sit and gaze

Upon the grass, relinquished to their feet.

She causes boys to pile new plums and pears

On disregarded plate. The maidens taste

And stray impassioned in the littering leaves.



VI


Is there no change of death in paradise?

Does ripe fruit never fall? Or do the boughs

Hang always heavy in that perfect sky,

Unchanging, yet so like our perishing earth,

With rivers like our own that seek for seas

They never find, the same receding shores

That never touch with inarticulate pang?

Why set the pear upon those river banks

Or spice the shores with odors of the plum?

Alas, that they should wear our colors there,

The silken weavings of our afternoons,

And pick the strings of our insipid lutes!

Death is the mother of beauty, mystical,

Within whose burning bosom we devise

Our earthly mothers waiting, sleeplessly.



VII


Supple and turbulent, a ring of men

Shall chant in orgy on a summer morn

Their boisterous devotion to the sun,

Not as a god, but as a god might be,

Naked among them, like a savage source.

Their chant shall be a chant of paradise,

Out of their blood, returning to the sky;

And in their chant shall enter, voice by voice,

The windy lake wherein their lord delights,

The trees, like serafin, and echoing hills,

That choir among themselves long afterward.

They shall know well the heavenly fellowship

Of men that perish and of summer morn.

And whence they came and whither they shall go

The dew upon their feet shall manifest.



VIII


She hears, upon that water without sound,

A voice that cries, “The tomb in Palestine

Is not the porch of spirits lingering.

It is the grave of Jesus, where he lay.”

We live in an old chaos of the sun,

Or old dependency of day and night,

Or island solitude, unsponsored, free,

Of that wide water, inescapable.

Deer walk upon our mountains, and the quail

Whistle about us their spontaneous cries;

Sweet berries ripen in the wilderness;

And, in the isolation of the sky,

At evening, casual flocks of pigeons make

Ambiguous undulations as they sink,

Downward to darkness, on extended wings.

Poem of the Day -- "Ode to Federico Garcia Lorca" by Pablo Neruda

This is a poem of friendship between two Spanish-Language poetry icons, the great Chilean Poet Pablo Neruda, and the great Spanish Surrealist, Federico Garcia Lorca.

During the mid 1930's, when Neruda was fulfilling his position as Chile's Consul in Barcelona, it was Federico Garcia Lorca who would introduce Neruda at readings and celebrations of poetry; helping to launch the poetic career of the great Neruda in Spain.  Their meeting and friendship was strong and fast, and their influence on each other was profound - resulting in this beautiful ode, a crossing of styles, and unfortunately, a very mournful and riveting eulogy upon determination of Lorca's death (which I'll eventually share with you on this blog) by Neruda himself.

Enjoy this beautiful piece; atypical of Neruda's work, but this ode is written beautifully, and serves to illustrate the talents and soul of Lorca through the eyes and soul of a brilliant poet himself.

Ode to Federico Garcia Lorca

By Pablo Neruda

If I could cry out of fear in a lonely house,
if I could take out my eyes and eat them,
I would do it for your mournful orange tree voice
and for your poetry that comes out screaming.

 
Because for you they paint the hospitals blue,
and the schools and seaside barrios swell
and are populated with the feathers of injured angels
and are covered with the scales of bridal fish,
and the sea urchins are taking to the sky:
for you the tailor’s shops with their black membranes
filled with blood and spoons,
and they swallow torn ribbons, and they murder with kisses,
and they dress in white.


When you fly away dressed as a peach,
when you laugh the laugh of hurricane-thrown rice,
when you sing you make teeth and arteries tremble,
throat and fingers,
I would die for the dulcet thing that you are,
I would die for the red lakes
where you live in the middle of autumn
with a fallen steed and a blood-soaked God,
I would die for the cemeteries
that pass by like ashen rivers
with water and tombs,
at night, amongst muffled bells:
rivers thick as bedrooms
of ill soldiers, who suddenly swell
toward death in rivers with marble numbers
and decaying garlands, and funeral oils:
I could die from seeing you at night
gazing past the piled-high crosses,
standing crying,
because before the river of death you cry
abandonedly, injuredly,
you cry crying, with eyes full
of tears, of tears, of tears. 


If I could at night, hopelessly alone,
amass oblivion and shadow and smoke
above railroads and steamboats,
with a black funnel,
chewing the ashes,
I would make the tree in which you grow,
the nests of golden water that you gather,
and the vine that covers your bones
communicating the secret of the night.


Cities that smell of wet onion
wait for you to pass by singing hoarsely,
and silent ships of semen pursue you,
and green swallows nest in your hair,
and seashells and weekdays, too,
furled masts and cherries
definitively spin when
your pale head of fifteen eyes
and your mouth immersed in blood appear.


If I could fill the city halls with soot,
and, sobbing, tear down clocks,
I would be there to see when summer comes
at your house with broken lips,
here comes a crowd of people in death suits,
here come regions of sad splendor,
here come plowed dead poppies,
here come gravediggers and riders,
here come planets and maps with blood,
here come divers covered with ash,
here come masked men dragging maidens
held against large knives,
here come roots, veins, hospitals,
springs, ants,
here comes the night with the bed where
a solitary hussar is dying among the spider lamps,
here comes a rose of hatred and pins,
here comes a yellowish embarkation,
here comes a windy day with a child,
here I come with Oliverio, Norah,
Vicente Aleixandre, Delia,
Maruca, Malva Marina, María Luisa and Larco,
la Rubia, Rafael Ugarte,
Cotapos, Rafael Alberti,
Carlos, Bebé, Manuel Altolaguirre,
Molinari,
Rosales, Concha Méndez,
and others I’m forgetting.
They see that you are crowned, young man of health
and butterfly, pure young man
like a black flash of lightning perpetually free,
conversing among us,
now, when no one is between the rocks,
let’s simply talk about how you and I are:
what do verses serve if not the dew?


What do verses serve if not for this night
in which a bitter dagger finds us, for this day,
for this twilight, for this broken corner
where the battered heart of man prepares to die?


Especially at night,
at night there are many stars,
all within a river
like a ribbon next to the windows
of the houses full of poor people.


Someone has been killed, perhaps
they have lost their jobs in the offices,
in the hospitals, in the elevators,
in the mines,
the stubbornly wounded beings suffer,
and there is purpose and weeping everywhere:
while the stars run in an endless river
there is profuse weeping in the windows,
the doorsteps are worn from the weeping,
the bedrooms are wet from the weeping
that comes in form of a wave to eat away the carpets.


Federico,
you see the world, the streets,
the vinegar,
the farewells at the stations
when the smoke raises its decisive wheels
toward where there is nothing but some
separations, stones, tracks.


There are so many people asking questions
everywhere.
There is the bleeding blind man, and the irate, and
the downhearted,
and the miserable, the tree of fingernails,
the bandit with envy on his back. 


Thus it is life, Federico, here you have
the things that my friendship can offer you
from a melancholic, manly man.
Already you know many things for yourself.
And you will know others slowly.

Poem of the Day -- "Ode to Salvador Dali" by Federico Garcia Lorca

We've featured several of Lorca's greatest poems on eNothing before - including "The Guitar" and "Ode to Walt Whitman" -- and so I thought it would be fitting to include another of his greatest poems, his personal tribute to his great friend, Salvador Dali.

The friendship between Lorca and the great Dali is a legendary tale and well documented both in works as well as stories and photographs.  The met in Madrid, Spain in the early 1920's when Lorca arrived to attend art school - to learn to draw and paint. See the sketch that Lorca drew of Dali (beginnings of Surrealism, here)

They became inseparable, strong friends and along with Luis Buñuel, the filmmaker, and other friends, they spent their time together talking, drinking, smoking, reading, and playing countless practical jokes and games.

Lorca and Dali influenced each others works greatly and Dali even designed the set for one of Lorca's early plays.  In several of Dali's paintings, Lorca's image can be seen floating about amidst severed bodies and ants and clouds.

They both embraced the influential French surrealism movement and became the movements more famous protagonists...in the end, Dali more so after he took up residence in Paris to grow with the surrealist movement.

Here is Lorca's Ode to his friend (which his friend took exception to as too critical when it was published) - a poem which is of global importance for it's subject matter and it's place in the history of art during the early 20th century.  

Enjoy! 

Ode to Salvador Dali

By Federico Garcia Lorca

A rose in the high garden you desire.
A wheel in the pure syntax of steel.
The mountain stripped bare of Impressionist fog,
The grays watching over the last balustrades.

The modern painters in their white ateliers
clip the square root's sterilized flower.
In the waters of the Seine a marble iceberg
chills the windows and scatters the ivy.

Man treads firmly on the cobbled streets.
Crystals hide from the magic of reflections.
The Government has closed the perfume stores.
The machine perpetuates its binary beat.

An absence of forests and screens and brows
roams across the roofs of the old houses.
The air polishes its prism on the sea
and the horizon rises like a great aqueduct.

Soldiers who know no wine and no penumbra
behead the sirens on the seas of lead.
Night, black statue of prudence, holds
the moon's round mirror in her hand.

A desire for forms and limits overwhelms us.
Here comes the man who sees with a yellow ruler.
Venus is a white still life
and the butterfly collectors run away.


*

Cadaqués, at the fulcrum of water and hill,
lifts flights of stairs and hides seashells.
Wooden flutes pacify the air.
An ancient woodland god gives the children fruit.

Her fishermen sleep dreamless on the sand.
On the high sea a rose is their compass.
The horizon, virgin of wounded handkerchiefs,
links the great crystals of fish and moon.

A hard diadem of white brigantines
encircles bitter foreheads and hair of sand.
The sirens convince, but they don't beguile,
and they come if we show a glass of fresh water.


*

Oh Salvador Dali, of the olive-colored voice!
I do not praise your halting adolescent brush
or your pigments that flirt with the pigment of your times,
but I laud your longing for eternity with limits.

Sanitary soul, you live upon new marble.
You run from the dark jungle of improbable forms.
Your fancy reaches only as far as your hands,
and you enjoy the sonnet of the sea in your window.

The world is dull penumbra and disorder
in the foreground where man is found.
But now the stars, concealing landscapes,
reveal the perfect schema of their courses.

The current of time pools and gains order
in the numbered forms of century after century.
And conquered Death takes refuge trembling
in the tight circle of the present instant.

When you take up your palette, a bullet hole in its wing,
you call on the light that brings the olive tree to life.
The broad light of Minerva, builder of scaffolds,
where there is no room for dream or its hazy flower.

You call on the old light that stays on the brow,
not descending to the mouth or the heart of man.
A light feared by the loving vines of Bacchus
and the chaotic force of curving water.

You do well when you post warning flags
along the dark limit that shines in the night.
As a painter, you refuse to have your forms softened
by the shifting cotton of an unexpected cloud.

The fish in the fishbowl and the bird in the cage.
You refuse to invent them in the sea or the air.
You stylize or copy once you have seen
their small, agile bodies with your honest eyes.

You love a matter definite and exact,
where the toadstool cannot pitch its camp.
You love the architecture that builds on the absent
and admit the flag simply as a joke.

The steel compass tells its short, elastic verse.
Unknown clouds rise to deny the sphere exists.
The straight line tells of its upward struggle
and the learned crystals sing their geometries.


*

But also the rose of the garden where you live.
Always the rose, always, our north and south!
Calm and ingathered like an eyeless statue,
not knowing the buried struggle it provokes.

Pure rose, clean of artifice and rough sketches,
opening for us the slender wings of the smile.
(Pinned butterfly that ponders its flight.)
Rose of balance, with no self-inflicted pains.
Always the rose!


*

Oh Salvador Dali, of the olive-colored voice!
I speak of what your person and your paintings tell me.
I do not praise your halting adolescent brush,
but I sing the steady aim of your arrows.

I sing your fair struggle of Catalan lights,
your love of what might be made clear.
I sing your astronomical and tender heart,
a never-wounded deck of French cards.

I sing your restless longing for the statue,
your fear of the feelings that await you in the street.
I sing the small sea siren who sings to you,
riding her bicycle of corals and conches.

But above all I sing a common thought
that joins us in the dark and golden hours.
The light that blinds our eyes is not art.
Rather it is love, friendship, crossed swords.

Not the picture you patiently trace,
but the breast of Theresa, she of sleepless skin,
the tight-wound curls of Mathilde the ungrateful,
our friendship, painted bright as a game board.

May fingerprints of blood on gold
streak the heart of eternal Catalunya.
May stars like falconless fists shine on you,
while your painting and your life break into flower.

Don't watch the water clock with its membraned wings
or the hard scythe of the allegory.
Always in the air, dress and undress your brush
before the sea peopled with sailors and ships.

POEM OF THE DAY -- Are you the New Person Drawn Toward Me?


Are you the New Person Drawn Toward Me?

By Walt Whitman

ARE you the new person drawn toward me?
To begin with, take warning—I am surely far differ-
ent from what you suppose;
Do you suppose you will find in me your ideal?
Do you think it so easy to have me become your
lover?
Do you think the friendship of me would be unalloy'd
satisfaction?
Do you think I am trusty and faithful?

Do you see no further than this façade—this smooth
and tolerant manner of me?
Do you suppose yourself advancing on real ground
toward a real heroic man?
Have you no thought, O dreamer, that it may be all
maya, illusion?

POEM OF THE DAY -- "3rd Chorus" by Jack Kerouac


And so, we continue with our intermittent study of Jack Kerouacs writings today with a piece from his classic "Mexico City Blues" collection of poems -- "3rd Chorus". Simple American life, safe American life -- EVEN 50 YEARS AGO Kerouac felt the peril of the neverending ballooning government of our nation.

Do the math, people. What's it now? Where are we headed? 5 years from now, who can afford a new pair of shoes?

The investment bankers, the brokers, the insurance companies.

That's who.

Who says Kerouac isn't relevant today? Enjoy.

3rd Chorus (from Mexico City Blues)

By Jack Kerouac

Describe fires in riverbottom
sand, and the cooking;
the cooking of hot dogs
spitted in whittle sticks
over flames of woodfire
with grease dropping in smoke
to brown and blacken
the salty hotdogs,
and the wine,
and the work on the railroad.

$275,000,000,000.00 in debt
says the Government
Two hundred and seventy five billion
dollars in debt
Like Unending
Heaven
And Unnumbered Sentient Beings
Who will be admitted --
Not-Numerable --
To the new Pair of Shoes
Of White Guru Fleece
O j o!
The Purple Paradise
-

POEM OF THE DAY -- "Letter Home" by U.S. Poet Laureate Natasha Tretheway

Since one of our missions is to help "spread poetry to the masses" via Twitter and our blog - it makes perfect sense then to keep "the masses" up to date with an annual entry about the current U.S. Poet Laureate.  

This year, it's poet Natasha Tretheway -- a native of Gulfport, Mississippi - born in 1966 to mixed race (Canadian father, black mother) parents.  Her parents were divorced, and her mother was murdered in 1985 by her second husband, when she was 19 years old.  Natasha turned to poetry at that time - and much of her work reflects her own life experiences despite a variety of historical and racial settings.

She is the author of (4) published works of poetry: Domestic Work (Graywolf Press, 2000), Bellocq's Ophelia (Graywolf, 2002), Native Guard (Houghton Mifflin, 2006), for which she was awarded the 2007 Pulitzer Prize, and Thrall (Houghton Mifflin Harcourt, August 2012.) 

Much of her poetry examines themes such as American racial legacy and is heavily reliant on her own interpretation and memory of events and paths traveled in her own life.  Frequently her work also references the Civil War - as her memories are strong concerning the South's impression of the Civil War -- mirrored from a unique perspective as a mixed race poet...with a sensibility and sensitivity that only a poet could have.

Here is one of Natasha's more notable poems -- historical in nature and particularly sensitive in examining the thoughts of race in 1910 as it might have felt (most certainly did) to a woman of mixed race at that time.

Letter Home 

By Natasha Tretheway

--New Orleans, November 1910

Four weeks have passed since I left, and still
I must write to you of no work. I've worn down
the soles and walked through the tightness
of my new shoes calling upon the merchants,
their offices bustling. All the while I kept thinking
my plain English and good writing would secure
for me some modest position Though I dress each day
in my best, hands covered with the lace gloves
you crocheted--no one needs a girl. How flat
the word sounds, and heavy. My purse thins.
I spend foolishly to make an appearance of quiet
industry, to mask the desperation that tightens
my throat. I sit watching--

though I pretend not to notice--the dark maids
ambling by with their white charges. Do I deceive
anyone? Were they to see my hands, brown
as your dear face, they'd know I'm not quite
what I pretend to be. I walk these streets
a white woman, or so I think, until I catch the eyes
of some stranger upon me, and I must lower mine,
a negress again. There are enough things here
to remind me who I am. Mules lumbering through
the crowded streets send me into reverie, their footfall
the sound of a pointer and chalk hitting the blackboard
at school, only louder. Then there are women, clicking
their tongues in conversation, carrying their loads
on their heads. Their husky voices, the wash pots
and irons of the laundresses call to me.

I thought not to do the work I once did, back bending
and domestic; my schooling a gift--even those half days
at picking time, listening to Miss J--. How
I'd come to know words, the recitations I practiced
to sound like her, lilting, my sentences curling up
or trailing off at the ends. I read my books until
I nearly broke their spines, and in the cotton field,
I repeated whole sections I'd learned by heart,
spelling each word in my head to make a picture
I could see, as well as a weight I could feel
in my mouth. So now, even as I write this
and think of you at home, Goodbye

is the waving map of your palm, is
a stone on my tongue.

POEM OF THE DAY -- "Daydreams for Ginsberg" by Jack Kerouac

Here is yet another poem by iconic American novelist and poet Jean-Louis "Jack" Kerouac featured here on the eNOTHING blog.  Along with William S. Burroughs and Allen Ginsberg, Kerouac is widely credited with being a pioneer of the "Beat Generation". 

In many anthologies and lists, this poem is near the top of the list as one of Kerouacs most popular or viewed poems. There are more such as Bowery Blues and others (featured here on our blog) and some which we haven't posted yet, but will.
Kerouac is recognized for popularizing a "spontaneous" method of writing, covering controversial topics at the time such as jazz, promiscuity, Buddhism, drugs, poverty, petty crime, and travel - all along indirectly promoting a youthful "freedom" counterculture and a disdain for authority. Along the way Kerouac became an underground celebrity and the "Beat Generation" became a progenitor of the 1960's hippie movement.  

His involvement in the beat movement have inspired many including popular musicians and those who inspired the popular musicians of the 1960's.  His writings have inspired other writers, including Ken Kesey, Bob Dylan, Eddie Vedder, Thomas Pynchon, Lester Bangs, Tom Robbins, Will Clarke, Ben Gibbard, Haruki Murakami, Jacquelyn Landgraf. Kerouac became an underground celebrity and, with other beats, a progenitor of the hippie movement.

Daydreams for Ginsberg

By Jack Kerouac

I lie on my back at midnight
hearing the marvelous strange chime
of the clocks, and know it's mid-
night and in that instant the whole
world swims into sight for me
in the form of beautiful swarm-
ing m u t t a worlds-
everything is happening, shining
Buhudda-lands,
bhuti

blazing in faith, I know I'm
forever right & all's I got to
do (as I hear the ordinary
extant voices of ladies talking
in some kitchen at midnight
oilcloth cups of cocoa
cardore to mump the
rinnegain in his
darlin drain-) i will write
it, all the talk of the world
everywhere in this morning, leav-
ing open parentheses sections
for my own accompanying inner
thoughts-with roars of me
all brain-all world
roaring-vibrating-I put
it down, swiftly, 1,000 words
(of pages) compressed into one second
of time-I'll be long
robed & long gold haired in
the famous Greek afternoon
of some Greek City
Fame Immortal & they'll
have to find me where they find
the t h n u p f t of my
shroud bags flying
flag yagging Lucien
Midnight back in their
mouths-Gore Vidal'll
be amazed, annoyed-
my words'll be writ in gold
& preserved in libraries like
Finnegans Wake & Visions of Neal.


Poem of the Day -- "Ode to Walt Whitman" by Federico Garcia Lorca

 This piece by the great Spanish poet and playwright was written after - and influenced by - his time in New York in the early-mid 1920's.  Lorca, a communist, eroticizes Walt Whitman and circumsizes capitalist life in New York city simultaneously. 

Lorca influenced so many of the great poets of the 20th century and across many different poetic forms and genres, we're going to delve a bit deeper into his influence on such greats as Pablo Neruda and Allen Ginsberg, as well as popular artists Joan Baez, the Clash and others.

Ode to Walt Whitman

By Federico Garcia Lorca

By the East River and the Bronx
boys were singing, exposing their waists
with the wheel, with oil, leather, and the hammer.
Ninety thousand miners taking silver from the rocks
and children drawing stairs and perspectives.

But none of them could sleep,
none of them wanted to be the river,
none of them loved the huge leaves
or the shoreline's blue tongue.

By the East River and the Queensboro
boys were battling with industry
and the Jews sold to the river faun
the rose of circumcision,
and over bridges and rooftops, the mouth of the sky emptied
herds of bison driven by the wind.

But none of them paused,
none of them wanted to be a cloud,
none of them looked for ferns
or the yellow wheel of a tambourine.

As soon as the moon rises
the pulleys will spin to alter the sky;
a border of needles will besiege memory
and the coffins will bear away those who don't work.

New York, mire,
New York, mire and death.
What angel is hidden in your cheek?
Whose perfect voice will sing the truths of wheat?
Who, the terrible dream of your stained anemones?

Not for a moment, Walt Whitman, lovely old man,
have I failed to see your beard full of butterflies,
nor your corduroy shoulders frayed by the moon,
nor your thighs pure as Apollo's,
nor your voice like a column of ash,
old man, beautiful as the mist,
you moaned like a bird
with its sex pierced by a needle.
Enemy of the satyr,
enemy of the vine,
and lover of bodies beneath rough cloth...

Not for a moment, virile beauty,
who among mountains of coal, billboards, and railroads,
dreamed of becoming a river and sleeping like a river
with that comrade who would place in your breast
the small ache of an ignorant leopard.

Not for a moment, Adam of blood, Macho,
man alone at sea, Walt Whitman, lovely old man,
because on penthouse roofs,
gathered at bars,
emerging in bunches from the sewers,
trembling between the legs of chauffeurs,
or spinning on dance floors wet with absinthe,
the faggots, Walt Whitman, point you out.

He's one, too! That's right! And they land
on your luminous chaste beard,
blonds from the north, blacks from the sands,
crowds of howls and gestures,
like cats or like snakes,
the faggots, Walt Whitman, the faggots,
clouded with tears, flesh for the whip,
the boot, or the teeth of the lion tamers.

He's one, too! That's right! Stained fingers
point to the shore of your dream
when a friend eats your apple
with a slight taste of gasoline
and the sun sings in the navels
of boys who play under bridges.

But you didn't look for scratched eyes,
nor the darkest swamp where someone submerges children,
nor frozen saliva,
nor the curves slit open like a toad's belly
that the faggots wear in cars and on terraces
while the moon lashes them on the street corners of terror.

You looked for a naked body like a river.
Bull and dream who would join wheel with seaweed,
father of your agony, camellia of your death,
who would groan in the blaze of your hidden equator.

Because it's all right if a man doesn't look for his delight
in tomorrow morning's jungle of blood.
The sky has shores where life is avoided
and there are bodies that shouldn't repeat themselves in the dawn.

Agony, agony, dream, ferment, and dream.
This is the world, my friend, agony, agony.
Bodies decompose beneath the city clocks,
war passes by in tears, followed by a million gray rats,
the rich give their mistresses
small illuminated dying things,
and life is neither noble, nor good, nor sacred.

Man is able, if he wishes, to guide his desire
through a vein of coral or a heavenly naked body.
Tomorrow, loves will become stones, and Time
a breeze that drowses in the branches.

That's why I don't raise my voice, old Walt Whitman,
against the little boy who writes
the name of a girl on his pillow,
nor against the boy who dresses as a bride
in the darkness of the wardrobe,
nor against the solitary men in casinos
who drink prostitution's water with revulsion,
nor against the men with that green look in their eyes
who love other men and burn their lips in silence.

But yes against you, urban faggots,
tumescent flesh and unclean thoughts.
Mothers of mud. Harpies. Sleepless enemies
of the love that bestows crowns of joy.

Always against you, who give boys
drops of foul death with bitter poison.
Always against you,
Fairies of North America,
Pájaros of Havana,
Jotos of Mexico,
Sarasas of Cádiz,
Apios of Seville,
Cancos of Madrid,
Floras of Alicante,
Adelaidas of Portugal.

Faggots of the world, murderers of doves!
Slaves of women. Their bedroom bitches.
Opening in public squares like feverish fans
or ambushed in rigid hemlock landscapes.

No quarter given! Death
spills from your eyes
and gathers gray flowers at the mire's edge.
No quarter given! Attention!
Let the confused, the pure,
the classical, the celebrated, the supplicants
close the doors of the bacchanal to you.

And you, lovely Walt Whitman, stay asleep on the Hudson's banks
with your beard toward the pole, openhanded.
Soft clay or snow, your tongue calls for
comrades to keep watch over your unbodied gazelle.

Sleep on, nothing remains.
Dancing walls stir the prairies
and America drowns itself in machinery and lament.
I want the powerful air from the deepest night
to blow away flowers and inscriptions from the arch where you sleep,
and a black child to inform the gold-craving whites
that the kingdom of grain has arrived. 


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