10.22.16

Weekend words. Yes I complained about this, and yes I still do it, and yes I appreciate you humoring me. 

10-15-16

I was waiting for the winds,

And was disappointed when they didn’t come.

I wanted tonight to be different from every other night,

But it was the same.

More television,

equal rain.

I wanted to pause the film

between the frames,

And pretend, in the dark,

Just for once.

But now I’m surrounded by the detritus,

(treasure and junk)

That defines my days.

My body will desiccate among it,

Hermetically saved.

10-17-16

I don’t write about important things;

Places with foundations, gravity of purpose.

I don’t mention palaces or graveyards

Dripping with history.

I don’t write about weighty things

Which should be lifted or destroyed.

All I write is how the weather is

As I move through the void.

10.18.16

Here are some people who write better than I do; you should go enjoy their words.

The Vespertines

Miller Oberman

1

Do you remember when we were green and supple
I told you stories, my sapling, my brother-sister,
those nights not-sleeping on our bedrolls
made of boiled wool and moss
and I told you of the cloud-maker, ghost
in the cloud-house who made the night-
white wisps and noon-heavy layers,
who drifted in our door—I translated
for you what the cloud-maker said,
the billowing stories that dissolved you,
once, what was the one, do you
remember, that drifted you, laughing,
to sleep?
 

2

We read a book, later, about two
brothers from a far country,
one who died of a cough, the other
soon after in a fire, and both woke, and
both rode to a valley of orange blossoms
and cherry blossoms on a white horse
and found kindness, and found kindness,
and joined the orchard workers’ rebellion
against unjust taxes and were killed
in battle by the landowners’ arrows—
was that, do you remember, the book
singed so we never knew its ending,
or did they wake up again, elsewhere?

Last Lesson from My Grandmother

by Justin Rogers 

there was a time where
you were a pool of energy
a subway
a trolley car from your days in San Francisco
a drug rush that you love to reassure me
was never worth it at the end of the line
you used to tell me
how you traveled nothing but a trainwreck path―
left college to cram a final
hit in abandoned buildings before
dawn reminded you the scariest part
of going high is not the fall, it’s landing
in the same place you took off.

you followed a boy to the Golden Gate Bridge
fell over the edge
landed behind bars
with a drug addiction and no demon to blame but yourself
you tell me walking out of that prison
is what taught you how to walk fast
faster than the odds against you―
never run, you say―
running is admitting you
are already defeated
that there is nothing in your future
to stop and smell except skin drenched kerosene
a noose
a razor
the rust of the Golden Gate bridge
where you plant your feet

Bingo

by Chelsea Weber-Smith

At the muckleshoot casino my girlfriend and I are playing bingo
at their half-price, Thursday evening session.
At the other end of our long table there is a woman in her forties,
sitting alone with a glass of white wine in front of her
on a square napkin, with her orange dauber held in her hand like a pencil.
She looks like she is writing something more important than I am now,
on a piece of paper with numbers on it, marking a code
that people smarter than me will arrange and understand, without brains
that stop suddenly and pointlessly, like squirrels in the middle
of a busy road. Women behind her smoke and loudly announce
that they are approaching bingo or that they have never played bingo before
or that they don't understand the new bingo shape. On the huge TVs
hanging around the room we see the hand of the caller, only a part of her hand,
so close that we can see the wrinkles of her knuckles like pebbles dropped
into water. Her nails are painted a reddish purple, and I imagine
that she has a manicure every week. She is a celebrity here,
turning the ball toward the camera gently, and then calling
the letter and number with a practiced and elegant lilt.
N thirty-five. Can you say that three hundred people wait
breathlessly, apprehensively, for your every single word? I can't. And though I dream
it once in awhile, three hundred people, three thousand people,
listening to me read some poem or sing, or talk like a manic priest
about how Jesus was just a man brave enough to
announce his own holiness, I'm not sure I've got what it takes
to get there, or if I even want to. But at the muckleshoot
those hands hang above us, gently move unknowns into view.
When someone yells Bingo! there is a collective groan first,
because we're in this damn cold world together
and then after the win is verified, sometimes a small applause.

10.13.16

I was going to post last Wednesday about it being national poetry day, but now that there is a national day of every damn thing, it seems to have lost its appeal. The one day a year knit bloggers and mommy bloggers et al pay homage by posting a "deep" poem they learned in high school. Sorry, I'm salty today. Deal with it.

I don't feel particularly like a writer anymore, and no real call to keep writing about writing, since that seems like an order of magnitude more writing than I am doing anymore. I'm not writing and not blogging and I find it hard to care about either, except when people decide that Bob Dylan gets the Nobel Prize for literature. Apparently that gets me fighting mad.

Don't get me wrong, I love the guy's music and think he's made a hell of a contribution to our culture. But song lyrics aren't poetry, which is the most apt comparison to literature that could be made. A lot of arguments I'm hearing saying that they are the same or might as well be the same really disappoint me. Poetry really has no modern qualifications in terms of a definition. The former, "sound and sense" type gateposts are mostly considered prescriptive now, and you can write basically anything sonically, structurally, etc and have it be a poem. Songs still have the strong qualification that, to be successful, they have to sound good. This means there is a much stronger metric and rhythmic component that is needed. Also, there is nearly always a medium-to-strong presence of rhyme. These things make sense, they sound good to the human ear. Note, I said to be successful. I am sure there are plenty of really cruddy songs that are more closely related to the do-anything structures of poetry. For instance, many songs from the "emo" trend tended to have long, drawn-out lines that had difficult meters without necessarily any parallelism to other lines, and rhymes that were not as pleasant to the ear. (Of course I can't think of any examples, I wasn't a huge fan of the genre for a reason, so not a ton of it has stuck in my head).

Another thing I hear here is "what about poetry set to music?" which is a dumb question, because in asking if you've defined it as poetry set to music which is clearly defining two different things. This is not to say that there are not awesome performance poets who use various sonic and vocal elements for their performances, which are many and diverse, but which are not songs. The article I referenced above basically confirms "Mr. Dylan’s songs do get more mileage, and more shades of meaning, with every inflection he brings to them onstage on his never-ending tour. He can sharpen their barbs, tease out their mixed emotions and infuse them with passion or irony, constantly rescuing them from their own familiarity — constantly recharging his reputation, as if he hadn’t already earned it all".  Something better when sung? Must be a song. 

Another main criticism I have of that article and many of them out there championing this decision is that their argument seems to be that his work is good and does all the things good music should...therefore it is literature somehow. 

But there’s no question that Mr. Dylan has created a great American songbook of his own: an e pluribus unum of high-flown and down-home, narrative and imagistic, erudite and earthy, romantic and cutting, devout and iconoclastic, finger-pointing and oracular, personal and universal, compassionate and pitiless. His example has taught writers of all sorts — not merely poets and novelists — about strategies of both pinpoint clarity and anyone’s-guess free association, of telegraphic brevity and ambiguous, kaleidoscopic moods.

This is a great blurb, and his music does all these things, and they make it great. But they do not make it literature. This description could inform criticism about any art form, from the novella to surface design; that which is a combination of the best of its genre, tattles on the establishment, and inspires others to create and to create well.


Here's another blurb I have a few problems with:

As much as any academically beloved poet — say, Ezra Pound or T. S. Eliot — Mr. Dylan has always placed himself on a literary continuum where allusions focus and amplify meaning. But half a century ago, when guardians of culture were diligently policing boundaries between the purportedly high and low, Mr. Dylan drew his allusions not only from Western literature but also from the blues and the news, gleefully knocking their heads together; in “Stuck Inside of Mobile With the Memphis Blues Again,” he put Shakespeare in the alley.

It posits that Dylan himself put his work alongside that of poets to be judged as poets are, but I think that is quite a stretch. It also suggests that folk music doesn't or can't use allusion or other literary techniques without being considered on the same plane. I'm not going to go search and post lyrics, but anyone who appreciates music, folk and otherwise, can give you examples of the use of such techniques that usually are considered "high" on the continuum like chiasmus, parallelism, assonance, historical and cultural references, etc. The point is, that good music does this. Not just good literature. Doing something like this doesn't make it necessarily literary, but does make it excellent.

I have talked about this before, and it is interesting to think that music is ubiquitous in our culture, but poetry is basically hidden. You hear music in your car, from all of your devices, on tv and in movies, in stores, being played in public, etc. When does anyone in our culture consume poetry? Rarely, and usually in private or in small gatherings would be my guess. So its disappointing to me that a musician, who has world-renown would jump the ladder over other writers who maybe are as deserving, but not as well-known (or just as well-known, who knows). I know many novelists are somewhat famous, but can they reach the stature of a rock icon? And the wealth, for that matter?

What troubles me about his being awarded a literary prize is, why would it not go to a poet? There are scads of interesting, unique, socially-forward, gleam-in-your-eye poets of all stripes just in the USA right now, and I'm sure all over the world. I'm a little sad that they were passed over this time for someone who deserves accolades, but hardly publicity.

All this could be solved by making a Nobel Prize for music and calling it good. Tl;dr version: Bob Dylan is deserving of many awards, just not this one.