New Year's Day, Some Assembly Required, Resolutions Included

Happy New Year to anyone out there reading this, though I very much wonder if anybody is. I am having a lovely afternoon after a hectic holiday. John and I are sitting in the living room. Sun is pouring in on us and on the dog, the kind of winter light that feels redemptive, perfect for the first day of the New Year. We are drinking tea and eating cheese and crackers, dried fruit and nuts, and biscotti and listening to a new Sonny Rollins CD, "Road Shows" -- thanks Robert and Cheryl!

Here are some of my New Year's resolutions, in the order that they come to me, to be refined, I'm sure:

1) (Verily paradoxical), I resolve to spend less time on the computer, more reading, exercising body and mind.
2) Get my book taken this year, and if there are no takers, take stock of its worth, whether it is meant to be or not, possibly making revolutionary changes.
3) Finish the prose memoirs (essays) that I've talked about more than written.
4) Be less of a hermit and keep in touch with those who are close to my heart but may be far away.
5) Try not to make resolutions for anyone else.
6) Try not to worry, at least late at night when I should be sleeping.

That's all for now. Namaste!

Small pleasures

Nothing much happening. Our weather is cold (for us) -- in the low 40s, but despite fierce rain and wind overnight, the forecasted weekend of storm hasn't arrived -- or hasn't yet. I woke up last night when the rain stopped with the image of Pinocchio's burned feet in my mind.

John had to attend a function this afternoon and evening (an opera recital where he is exhibiting and possibly selling some of his opera portraits), and I really wasn't looking forward to the evening alone. But I took care of some errands and walked the dog and came home determined to neither do nothing nor do too much. I fed the pooch, put away groceries, poured myself a large glass of red wine. For dinner I cooked nahit (hot, dry, seasoned garbanzo beans) and winter squash, which I ate with butter, salt and pepper, and I had a piece of naan bread. I'm sure most people would think this a bizarre, disgusting dinner, and John for sure would not have approved -- nor of the fact that I ate all this walking about in the kitchen. But I found it delicious and satisfying and just right.

Then I messed around with putting together a wreath. We have a grapevine wreath that we bought decades ago, and I stick pieces of the fir tree in it (the pieces they cut off from the bottom to put the tree into the stand) and I tied on a red/green plaid ribbon from somewhere. I was listening to Garrison Keillor's show, and it was appropriately shmaltzy.

The dog is asleep on the couch. I've got a poem for tomorrow's workshop. Maybe I'll revise it another time.

Pop Quiz Answers

Here are my answers to the currently circulating meme:

1. When was the last time you wrote a poem?
Yesterday afternoon.

2. What was its title?
"Robyn, Love You Buckets Miss You—Eric" -- but dunno, it might change slightly.

3. What was one image from the poem (if applicable)?
Graffiti on a lampost that marks the spot of a fatal accident.

4. Do you currently have a poem percolating in your brain?
Just the usual peat bog where who knows what is buried. I'm actually trying to write a memoir/essay.

5. If you answered "yes" to number four, what is one image from that poem?
The guiding image from the memoir/essay is EK walking around my husband's flat in nothing but bikini underwear with "Home of the Wopper" on the fly and also an Italian Beretta in a shoulder holster.

Bit to be thankful for

Apparently, the Pushcart Prize has given my poem "Conjugated Visits" (published by Field and Poetry Daily) a "special mention" at the back of the book.

They publish 30 poems of the approx. 4,000 poetry nominations they get each year and give "special mention" to 30 others. And I'm there, along with John Ashbery, Jane Hirshfield, and so forth.

This makes me very happy. That, and the fact that I have been accepted to VCCA for 2 1/2 weeks in February-March.

And four days off! Four days in which I can sleep in!

Quick now, here, now, always—

I really liked this piece about TS Eliot by Jeanette Winterson.

So when people say that poetry is merely a luxury for the educated middle classes, or that it shouldn't be read much at school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language - and that is what poetry is. That is what literature offers - a language powerful enough to say how it is.

Let's not confuse this with realism. The power does not lie directly with the choice of subject or its social relevance - if it did, then everything not about our own contemporary situation would be academic to us, and all the art of the past would be a mental museum. Art lasts because it gives us a language for our inner reality, and that is not a private hieroglyph; it is a connection across time to all those others who have suffered and failed, found happiness, lost it, faced death, ruin, struggled, survived, known the night-hours of inconsolable pain.

Also, couldn't agree more with Cathy Park Hong of Harriet Blog about serious unproductivity during the days (weeks, months) leading up to the election.

Gray Saturday

It's a quiet, gray day here. Although I hear City College's marching band playing, it looks like rain. John has already gone downtown to work on a reshoot and won't be back until maybe 5:00. Greta is patiently waiting for me to finish with this post and take her for a walk. (Would be good idea to get out there before the rain starts.)

The house is a bit worse for wear -- everything stopped this week as we obsessed over the election. Now, change will come in Washington, but I still better wash the kitchen floor!

In the office, I have papers spread all over the floor. I'm going through my big wicker picnic basket full of old poems, printouts, old versions of my manuscript. I don't really know what I'm looking for.

One Day

After all this time. One day.

Three More Days

I am obsessed. I can't think of anything else except the election -- even though John and I already voted today. We stood in the rain and we voted early. For Obama, of course. Is there any doubt? And against California Proposition 8 and against Proposition 4. Talk about the audacity of hope. If President Obama can accomplish even a small fraction of what this country needs, it will be wonderful. It will be a start.

The thing is: I had been obsessed with my manuscript, how close it's come so many times, the totally specious reasons for which it has been rejected, the less worthy books that have been published… But this election, this campaign has really made me understand how trivial my concerns about the manuscript are in comparison -- in comparison with the bigger cause that has involved us.

It's Saturday night and it's raining. I've been soaked twice today. John is out finishing some prints he owes people. I've had a large glass of red wine, so forgive me. The wine: free, Argentinean, "tannat," 2005 vintage. John is a photographer -- you know, if he shoots it, we drink it.

So, we're going to win, aren't we? In 1968, when I graduated high school, I was named "most idealistic." But even I could not have imagined the possibility of a win on Tuesday. Not just a win -- a landslide.

Please.

This ain't no fooling around…

This ain't no party, this ain't no disco, it's work I'm posting from -- but I don't want to come down yet from the high of last night's concert -- David Byrne at Davies Hall in San Francisco. (And speaking of high, though we weren't partaking, it seems that Davies Hall ushers are not quite used to doing liquor-and-other-assorted-other-stuff searches, because, well, let's just say that this was not your typical Symphony crowd). But it was an awesome concert -- the new stuff ("Everything That Happens Will Happen Today" music by Brian Eno, lyrics by Byrne) and the old Talking Heads stuff.

We had good seats -- second tier, but right in front with a clear view to the stage. And the acoustics were terrific. Byrne, his backup band, backup singers, and three athletic quirky dancers were all wearing white. The show was as good as the music. There were two encores, standing ovations, and at the end of the second encore, Byrne invited the "San Francisco Marching Band" -- maybe they were leftover from the Love Parade the last week? -- to come to the stage and then the Byrne band joined them (that's what this picture captures, though it doesn't really capture anything, but you can see the excitement) for the finale of "Burning Down the House."

Roses on a rainy day

It rained last night here. First rain since, what, April? I lay in bed trying to figure out what the noise was.

Not much news in this corner lately, but I'm embarrassed by the dearth of posts in this blog. I hardly know what the point is, but anyway, today I'll post. It gives me the opportunity to show off my beautiful roses. They've opened out since Thursday, and their colors are the whole spectrum of apricot, from pink and creamy to nearly orange to hints of brown, like a sunset in a flower. This picture doesn't do any justice -- but there's only one photographer in this family and right now, he's still asleep.

We didn't do much for our anniversary (32!), but then we're going out on Monday to hear David Byrne and Brian Eno at Symphony Hall, and that was a bit of a splurge, so that will be enough. Besides, there was all that other entertainment on Thursday. (But I'm telling you, I'm going to bite my fingernails entirely off before this election's over.)

And I'm already biting them for other reasons. But I wasn't going to get into that again, until/when/if.

Dream job

New Pages has posted the following announcement
ZYZZYVA Seeks a New Editor
In the Editor's Note of the most recent ZYZZYVA, Howard Junker announces his intent to retire from the magazine, which is now seeking his successor, someone who "will have to be different, will have to take a new direction, because the times have changed." The informal job description Junker gives draws upon a response he once gave to a Paris Review Questionnaire about "the key ingredients needed to keep a literary magazine afloat." Junker writes: "Taking its editor George Plimpton as my model, I declared: An independent income is the basic flotation device. Having the office in the editor's basement reduces rent and the editor's commute. Also helpful because, even if the budget remains modest, attracting money is key: good looks, charm, guts, a thick skin, a sense of humor, a good work ethic, luck, and the ability to spot and nurture talent." Sound like anybody you know? If so, Junker closes his editorial: "If you have someone in mind, please let me know.

Ah yes, that would be cool. But an independent income? Uh, no.

In other news: nice party at work today for two people who just became citizens and also for one who was getting married. He had lived 15 years with his boyfriend and they are getting married this weekend. Very cool celebration -- about a dozen pizzas, three cakes, ice cream, champagne. I work in a cool place.

Not what it was quacked up to be

On Tuesday, we're getting the 78 year old furnace in our house replaced with a more energy-efficient one. The following phone call really happened: (John is a photographer and has done a lot of weird jobs in his time -- or that's his excuse.)


Woman: I'm calling to remind you of the job on Monday.
John: Uh, could you remind me what job this is?
Woman: You know, the ducks in the basement.
John: Ducks in the basement?
Woman: Yeah, the ducks?
John: Can you give me a few more details?
Woman: You know, the asbestos removal? The ducts?
John: Oh, the ducts!

Staring into the sun at whales

Yesterday evening we droveagain to Funston, the cliffs overlooking the Pacific that are about 10 minutes away from our house, with the dog. I said, offhand, that since the fog was gone, it would be nice to see the sunset and whales. It's amazing how fast you can get used to something extraordinary!

Well, they were out there again! Lest you think I'm making this up or having flashbacks to an earlier more innocent time, here's corroboration.

You probably associate whale watching with wind and cold and sea spray and possibly getting seasick. Sitting on a nice warm sand dune with your dog beside you is a much more fun way to watch whales. And hang gliders. And pelicans.

View from here ....

I feel thoroughly put down and bested by the I-Can-Do-Anything-You-Can Do-Better barrage. I'm so not good at debate. It shoots me right back into my childhood and my father and brother ganging up to belittle me and make me unnerved by calling me "emotional." 

All I wanted to say was don't blame the victim in the Cider Press thing -- and sure, she should have been more careful early on, but hey, does this mean no competitions are legitimate? Yeah, they cost money (so do a good many of the "open" submissions -- and there are fewer and fewer of them, even so), but when people pay $4 for a Starbucks, is a $20 fee for a book contest so awful? I don't buy Starbucks and I brown-bag my lunch. So I enter some competitions -- not every damn one, but some.

All I said is self publishing smacks of desperation -- to me, for me. Yeah, a lot of crap gets published every which way, no argument there.

I'd like to publish a magazine, maybe, someday. But right now I spend my day working and driving to work. There's not a lot of time left for being human, let alone writing. That said, I'd better get back to my work.

Thar She Blows!

Whales! We were out at Funston with poochie, and there — so close you could almost touch 'em — were whales! Lots of 'em, breaching and blowing. We watched for about an hour. It was hard to tear ourselves away!

We've never seen whales from there or anywhere in San Francisco. We've recently seen dolphins from there, but these were definitely whales (John carries his binoculars, of course.) And it's not even migratory season.

I was pretty depressed this morning about stuff, but this helped take me out of myself.

Whoo-hoo! Yowza! Hurray!

Last night was the second opening of John's photography show, of characters in the San Francisco Opera. Last week was for the Bravo Club only; this week for everyone else. So the show has been up for eight (count 'em) days -- and he has sold eight prints! If you don't know how amazing that is, let me tell you: it is very amazing! But everyone has loved the work!

John has worked so long and hard for this, and I'm so happy for my sweetie! If you're in the neighborhood (Gallery 645, at Michael Thompson Framing, 647 & 645 7th Street, San Francisco CA, 94103), go see it! It will be up until September 25.

It's Only Rock n' Roll ...

... but I like it! In fact, I loved it, really, the Rolling Stones move, "Shine A Light" that I saw last night on DVD. I was dancing around the living room, despite the fact that it embarrassed John and the dog. I want to see it again!

But I was up too late on a work day, and now I'm fighting off sleep.

Works for me

Greg and Leslie have written about their poetry "rules." I liked reading theirs. I'm not sure I really have rules, though I can generalize, somewhat, about what works or doesn't work for me.

First: endings. I rarely, if ever, know where a poem will end, which may be why so many of my poems end not with bangs but whimpers. Sometimes they don't end as much as they stop. But I confess that I think that's okay. If, in a sense, my poem takes the reader somewhere, I prefer not to announce that we've arrived.

Sound is important to me, as I've said here before. And texture. I like to use the syntax of the English sentence, working with breath and line endings for tension. So, an easy, colloquial speech, but not flatness. A mix of diction -- good crunchy words, but not arcane or archaic usage.

I lean to the lyric. Narrative elements are often present, but in most poems, they are subjugated to the lyrical impulse. The experience or the experiment is more important than the story.

I am very much one of the humankind of whom Eliot noted cannot bear too much reality.

Red-Headed Stepchild Endorses Tuscan Whole Milk

So yeah, I'm still in a friggin' bad mood, but this website is a hoot. Okay, it's two years old and probably everybody has seen it already. Well, it made me laugh, and that's something.

Highs and Lows

It was cold as usual, this morning, in the Ingleside neighborhood of San Francisco, but the sun was shining, and Greta was pretty perky, the Rimadyl having worked its medicine on her hips. I plugged into my iPhone (my son's gift for last Xmas, birthday, and mother's day). I'm still learning how to use it.

I've got Pandora Radio, a free app that transmits your own personal mix of music -- I mean it comes up with a steady stream of songs that it thinks you will like after you give it a few indications as to your faves. I had some reservations about joining the white earbud pack -- after all, I wouldn't be able to hear the birds, not to mention the cars that were going to run us over. But pretty soon, I was bopping down the street to Dylan and Joe Lovano and Sonny Rollins and Johnny Cash and The Who and …

But I turned a corner and lost the connection. So I checked my email instead. Seventy-five new messages since yesterday, including another rejection.

So what is it with my karma lately? I've been on a bad luck streak, drought, jinx, whatever for so long I want to scream and smash things, maybe myself included. People used to like my poems. Have I started writing bad poems? I never was Miss Popularity, but is the muse just not into me? Is it because I'm not young or not MFA'd or "the red-headed stepchild" as I read on somebody's blog this morning?

Another request

And again, it's not for me. They're putting together a catalog for John's gallery show (in less than a month) of those great opera portraits (see below). They need some words, a quote, something in front of the catalog. I would love him to use Matthews's "Night at the Opera," because I love that poem and I love Matthews. But I wonder if it's right-- its point being about the perfect note and John's shots are about costume and character. However, it's all opera. I dunno. What do you think?

Or do you have anything to suggest? Naturally I'd rather he used a poem -- not just some quote about opera. Let us know what you think.

Meantime my book is being considered somewhere. I get sick to my stomach when I think about it, I'm so anxious. Probably will bomb out once again.

Looking for Super Men

Not what you think! My husband, a super man for sure, sent me this, from the SF Opera. FWIW, it takes a real time commitment, but they seem to have a lot of fun.


SUPERNUMERARY CASTING CALL
July 22, 2008 from 6:30pm – 8:30 p.m.
Zellerbach B Rehearsal Hall
Located at the corner of Hayes and Franklin Streets in San Francisco CASTING MEN ONLY FOR THE 2008 – 2009 SEASON
We are looking for men of all ages to be supernumeraries. Referred to as “supers,” these are the people who volunteer their time in non-speaking roles on stage. While non-speaking and non-singing and often seen in crowd scenes, as soldiers, or in a variety of service roles such as maids, butlers, and ladies-in-waiting, they are essential to the production.
Requirements:
• Flexible schedule – planned rehearsals change frequently and often take place during daytime working hours
• Acting/performing arts experience preferred but not essential
• Children under age 18 require work permit

If you are interested in auditioning, please call 415-565-3200 and leave your name and phone number. You will not receive a return phone call unless there is some change to the audition schedule.
Please be aware that super roles are limited and are cast at the discretion of the stage directors. San Francisco Opera will not be able to use all people who apply.
Time commitment varies per production.

Operas in the 2008 Season with available male super roles include:

Simon Boccanegra
Die Tote Stadt
Idomeneo
Boris Godunov
The Elixir of Love
La Boheme

Got my goat(s)

So there I was, walking Greta Garbo near the old reservoir by City College, and lo and behold! Goats. I attempted a cameraphone pic, but as I'm extremely stupid at such things, I assumed it didn't work. But I guess I got something.

Nice weekend. Did some po biz, went to dinner at friends' up in San Anselmo, worked in the garden.

Fog is back.

Request

Back from the park and ready to get to work (despite little glitch in Internet connection, now resolved.) Oh, but I'm feeling good, having got a full 8 hours of sleep. Yes!

Sun is fighting to break through the fog this morning, but earlier, at Pine Lake, the mist was rising from the lake. A cormorant glided toward the edge and disappeared. A large turtle swam just under the surface. Later, the cormorant could be seen drying its wings, as is its wont, on the float in the middle of the lake.

Yesterday, I wanted to post about all the metaphors newscasters (on NPR) use to discuss the news: the fire metastasized. There was a seismic shift in public opinion. I never got around to post yesterday and have now forgotten the other examples I heard. Feel free to add others you've heard in a comment.

I know the posts have been few and far between on this blog of late. Robert has been busy moving and I have just been busy. (And no one else in the group seems to want to post.)

But I have a favor to ask the blogosphere. John (husband) attended a portfolio review (photography) in Santa Fe last week: big deal juried conference. Despite the fact that he was maybe the oldest there and everyone else seemed to know one another from graduate school, he, or rather, his work, got a fantastic reception. A major SF gallery is interested, and a well-known New York (name withheld) art publisher wants to do his book. This book will be his photos of principals, chorus, and supernumeraries in the SF Opera, in costume and in character. But he needs someone to write text to accompany the photos. I know zilch about opera, and the publisher wants someone, preferably, not only knowledgeable, but "with clout." So, if you or someone you know is this person, could you contact us? His website , which usually shows his commercial work, has been refurbished with some of these portraits (even more impressive as large prints). There you will find contact info as well.

Back home

Back home again, since about midnight last night. Totally jetlagged but pleased to be back. The flight was very long, especially since we spent an hour on the tarmac in NYC.

It was a beautiful, eventful, trip — but it was not relaxing. I must have been out of my mind to think that it would be relaxing. It's never relaxing when we're with John's family. We were all in Maine — from Texas, from NYC, from Boston, from SF (our contingent), from Ireland — and there was antiquing and pingpong and cards and art galleries and a boatride to Monhegan and lots of eating and a whole lot of drinking, but it was not relaxing. Although I did spend some time in the Adirondack chair pictured here reading John's Dublin cousin's novel manuscript.

And there was the wedding of course. "Your typical Maine Irish-Hindu wedding overlooking the ocean" as the minister said. Dramatic clouds and wind, but the rain held off. The bride and groom did a great Argentine tango!

Maine chance

Yeah, I'm sure that's the first time that pun was used. Anyway, if all goes well, we'll shortly be off on the red-eye to Maine, for our lovely niece's wedding and a week in Port Clyde of Doing Nothing. Of course my version of doing nothing means: reading, writing, long walks. We're sharing a house with my brother-in-law and his wife and a cousin from Ireland.

I'm excited about the whole deal -- well, not the flight; that sucks. Tomorrow morning we'll have breakfast with my son on his 26th birthday -- in Boston. He and his wife are doing a baseball vacation Back East, and are all set to go to Fenway at noon. Then we drive up to Maine with her sister, our other niece.

The bride is marrying a Indian-Canadian and will be wearing a green sari. There is to be Indian food and music and events all weekend -- clambake on the beach on Memorial day.

I'm trying to deal with leaving my pooch. Someone is coming to look after her, but leaving her is so hard. Your should see her poor pathetic pooch face.

Islands Apart

I’ve been terrible about blogging. Blame the fact that, as Eavan Boland puts it in an essay I loved in the current Poetry, “Whether we like it or not, the contemporary poet is increasingly skill-based. Or expected to be. He or she can — or should — lecture, lead a workshop, run an introductory class, teach composition, write a review, give a conference paper [and blog!]. But there is always a fraction — even if it’s just a small minority — of poets out in the world who don’t want to do any of these things. If there’s a conversation, they’re having it with themselves, with their own poems. They don’t want to extend it, share it, structure it. They are private, inward, and dissociated from the skills on offer or in demand. Once I thought there was a broad tolerance for this. Now I’m not so sure.”

Meanwhile, we’re finally moving next week to our “new” home across the Bay! “New” is in quotes because it’s the home where I grew up. You can see the booties we’ve been ordered to wear to protect the newly refinished floors. Just wait till our cats move in, though: you won’t catch them in no damn booties!

Sunset on daffodils = yellow

Greta in the tall grass (Brooks Park)

Squirrels and Turtles and Ducks ...

Oh my! Well, sorry bout that. Not much profundity lurking in this noggin of late. Yeah, I'm depressed, and yeah, what else is new. Didn't sleep very well last night, but this morning, as it's Friday and my day to work at home (instead of commuting an hour+ to Mountain View), I didn't get up in the dark to walk pooch, but took her by car to Stern Grove-Pine Lake.

Spring has sprung. Small birds zipped around. (For all I know, it was the same bird!) You could hear, though not see, an industrious woodpecker. The ducks were paired up, the turtles, a whole bunch of 'em, stretched their necks all the way out as they sunned on a log. Greta, whose squirrel-hunting days are over -- was very excited by their scent nevertheless.

It was really very lovely. Fluffy stuff, like snow, blew on the breeze.

Slut for Sound

Haven't had anything terribly profound to post -- but really, why should that stop me? Life has been, well, not very stressful for me (way less stressful than last year at this time), but somewhat difficult -- physical things, irksome things that are not worth talking about, but take up a great deal of time and brain space all the same.

But I want to talk about poetry. C. Dale asks "What makes us choose what we choose when we write?" My answer is definitely music. I don't think that's such a great answer, but it's my answer nonetheless. I play by ear, that's all. More than images, more than ideas, I'm a slut for sound -- and often the beat and vowel sounds will fill my ear even before the words are shaped. Strangely, this is not only what gets me writing poetry -- although it's a heightened experience for poetry. As I'm typing now, I hear the shape of the words before I know precisely what it is that I want to write.

Which is to say that it isn't necessarily gorgeous sounds that I seek -- no, that seek me. Rather, they are like chords that needs one note behind them that insists on being played. I think I may be a victim, more than most, of sound worms. A theme song I hear on the radio on the way to work will be in my mind for a week or more. More than that, in a compulsion almost like Tourette's, words take shape in my mouth and need to be uttered. These words are often names I hear: Moktada al-Sadr, Sylvia Poggioli, Lourdes Garcia-Navarro, Mahmoud Ahmadinejad -- all, regardless of who they are, that are like candy in my mouth.

There's an answer.

Wild! Check This Out!

This is so wild! Take a look:

http://www.maniacworld.com/frozen-in-grand-central-station.html

There used to be a group in SF (called the Cacophony Society) that would do off-the-wall things. Don't know what happened to them. Maybe (sigh) they grew up. So half of what intrigues me here is that the people who did this did it in Grand Central Station in NYC. Very cool. And interesting how unnerved people got. This could almost be considered subversive, dangerous.

In other news: In a Salon article this evening, I came across the headline:

Headless Body in Topless Bar

It cracks me up. Okay, life hasn't been much fun lately. But Spring is coming, and I'm jazzed. Hehe. I want to write a poem with this title!

Vanishing Point

Hey, I've got a poem in Blackbird.

Weasels

And a happy Valentine's Day to you. This quote, by Matt Groening, was in this morning's Chronicle. "Love is a snowmobile racing across the tundra and then suddenly it flips over, pinning you underneath. At night, the ice weasels come."

I have the Fever -- Post-AWP Sick As Dog Post

Don't know where that expression came from, but my dog is in much better shape than I am right now -- except that loud coughs and sneezes spook her and she's keeping herself out back. I have the fever, sore throat, the works, and by now, even with the honey tea, my chest feels like it was scrubbed with a copper scrubbee. I've been like this since I woke up at home on Sunday.

Still, I'm hesitant to stay out of work another day. (I dragged myself in on Monday and Tuesday, but today I just couldn't.) John brought me home some Japanese vegetable udon (noodles) from the corner before he went to his Advanced Photoshop class.

Since it's been this long, don't know if it's worth posting my AWP impressions, but here goes: It was interesting to be in New York, and even though I've lived away from it longer than I lived there, I had all these atavistic memories, like the dried brown leaves along the roadway and the water seepage in the subways. Then there was the each-person-for-himself drivers, the body slam I got when I hesitated on a corner trying to decide which way was east -- apparently I was in her way -- the person declaiming to himself/the entire baggage carousel that if he heated his house that hot, his wife would beat him with a baseball bat. Ah, New York!

The conference itself was fun but might have been more fun if I had a home base, an organization where I belonged. Oh there were a few people/organizations who said come and see me, and there were the celebs whom it was fun to see -- Bly, CK Williams, Billy Collins, others. And hanging with Robert, as I said, I was made to feel at home where he was welcome. I saw Greg Rappleye, as he mentioned, and C. Dale, who I don't have to go that far to see. I saw Paul Guest from afar, but he was always surrounded by admirers, and I doubt he knows me. I wish I saw Eduardo. We could have talked about Upstate NY -- I went to school in Rochester. Snow anyone?

I'm happy I stayed in the Hilton. When it just got too much, I could always go up to my room and take a break. I think the rate I got was half price -- and anyway, I just stayed for two nights. That was okay -- I'm not much of a party girl, and the music was loud!

Aside from Robert and Greg's panel, I went to and enjoyed the Graywolf one and the one on UltraTalk Poetry. David Kirby is a blast, and he looks like Steve Martin. If his poetry were ultra-serious, that might be a problem, but as it was ...

On My Way Home

Will be boarding in five minutes. But it's going to take a long time to process everything that happened here in NYC at AWP. No big news, but a lot of encouragement. Mostly it was fun -- including, maybe especially, seeing my buddies Dennis and Billy from high school days and eating at an amazing Korean restaurant in the East Village. Robert and I hung out a lot, and that was great. I met a great many people. Oh, boarding.

Off to AWP

Well, I'm going. I'm working all day tomorrow and not leaving until 11:00 -- on the redeye, but I'm going. I figure I will be in the air 10 hours and in New York, from touchdown to takeoff, a total of 37 hours. (I could only take so much time from work, and even at reduced conference rates, could only afford two nights at the Hilton.) I am looking forward to my Hilton stay. I mean I can't remember the last time I had a bathroom all to myself.

Well, other than a spiffy bathroom and a room of my own for two nights, why am I going? Hell if I know. It's just I figured if I were ever to go to this thing, I might as well go to it the year it's in NYC. I'm from the New York area, though after 31 years in SF, the Big Apple (do they still call it that?) is only a dim memory. I mean, the twin towers were only there a few years before I left. I guess I'm hoping to make the acquaintance, if only in passing, of people I know in print or on blogs. I'll go to Robert and Greg's panel. I'll sneak out for drinks with a couple old friends. And then it will be time to return. Maybe I'll meet someone who will ask me to send my manuscript. Maybe not.

Kitsch: Thought for the Day

I’ve been reading The Rest Is Noise: Listening to the Twentieth Century by Alex Ross and was struck by this in a chapter on the Finnish composer Jean Sibelius:

“Mainstream audiences may lag behind the intellectual classes in appreciating the more adventurous composers, but sometimes they are quicker to perceive the value of music that the politicians of style fail to comprehend. Nicolas Slonimsky once put together a delightful book titled Lexicon of Music Invective, anthologizing wrongheaded music criticism in which now canonical masterpieces were compared to feline caterwauling, barnyard noises, and so on. Slonimsky should also have written a Lexicon of Musical Condescension, gathering high-minded essays in which now canonical masterpieces were dismissed as kitsch, with a long section reserved for Sibelius.”

Pink Ocean

I really should fire up my work computer and see if there's any work for me. I am glad to be home! I did take Greta out in this storm this morning. My jacket kept me dry down to my thighs. The rest of me looked and felt like I'd slipped into the Bay. So I'm not any too anxious to shower and get all wet again. I'm sitting here at the table, dawdling over a second cup of coffee.

I just read the Stuart Dybek piece in the new Poetry. They call it "fiction," because it isn't really comment, though it's in their Comment section, and it's not shaped like a poem. But it is the most incredible piece of writing I've read in, what, years? Ages? I can't think of an appropriate hyperbole. It is absolutely wonderful. It has so many levels -- the aural and oral and tactile and visual and psychological and critical (as in literary) -- and narrative as well.

I don't know if it's on their website. Wait, I just checked. It is called: Pink Ocean. Read it now!

End of day / End of year

Last of the winter light here in the living room, John and I sitting on the sofa, reading our Christmas books -- mine, Di Piero's Chinese Apples , John going though Salgado's Africa. I like Di Piero for his combination toughness and vulnerability, his originality, the tighness of his lines. John loves Salgado's photographs but says this one is a hard book to browse through, "rips your heart out." He stops to show me this one, and this one. "Look at that; nobody can match him; he's the best there is." The dog is lying between us, old girl, snoring/purring away. She loves nothing more than being between the two of us.


It's a nice quiet end of day -- one more before year's end. I have to work tomorrow, and then we are meeting friends for an early dinner at a local restaurant and come back here for bubbly and to comfort Greta from the fireworks. We cleaned a bit for that, so it's nice to just sit here, watching the seagulls fly in from the Pacific.

It's been a momentous year for us -- Nathaniel getting married, a trip to Ireland, a new deck, a new job for me, some health issues, a few minor victories in my art and John's but not the big ones either of us have hoped for. It's hard to just sum it up, like that. It's just another day, another year, really.

Figured Dark

Many years ago I went through a period where I lost interest in poetry. Then I happened to pick up one of those “World’s Favorite Poems” anthologies and to open it to Blake’s “Tyger! Tyger! burning bright,” and I was hooked again. With all the arguments over poetics and the thousands of trendy and conventional poems published every day, it’s easy to forget the original impulse to poetry and why you fell in love with it in the first place.

Last week I read Greg Rappleye’s new book Figured Dark. Greg gets as involved as anyone in the blogosphere in arguments over poetics, but what I love about his poetry is that he seems to forget about all that when he sits down to write, and to sink into a place deep within himself, maybe within all of us. His poems make me remember what made me love poetry in the first place. Here’s a link to “Figured Dark,” the title poem of the book. Somehow it brings together Whistler’s Nocturne, Chet Baker’s music and morphine, archaeology and breasts and fireflies, and makes it all feel utterly natural. Not to mention the gorgeous sound of my new favorite word, Cremorne!

December, Life and Death and Everything Else

With blogs, as with email, the more often you write, the more you can get away with the quotidian details: what you had for breakfast, who called, the weather, what you are wearing, your recipe for French Provincial vegetable soup. If you only blog every once in a while, your posts seem to have more portent. You start getting shyer. Is anyone going to want to read this? Do I really have anything to say?

Twenty-seven years ago today John Lennon was murdered. Other bloggers were talking about What They Were Doing then. I remember I brought in the SF Chronicle and there it was in the headline. I remember friends being pissed off that I didn't want to stand outside on a prayer vigil. But what was the point? He was already dead. In any case, if you want to know what I was doing then, I was having a miscarriage. Well, a long time ago, wasn't it?

So holidays. Grinning and bearing it here. At this stage of my life, I've done more than my share of cooking and all, and so sometimes I'd like to just hide under the covers and wait for all of it to pass. Not going to happen, so deep breath, and deal with it, Diane. (At this moment, I'm sitting on my couch with my sweet dog Greta snuggled up against me. You know everything seems fine when your dog loves you.)

Meantime, thanks to Jilly Dybka's blog, I read this and following in the New York Times Book Review:

No contemporary poet is famous, but some are less unfamous than others. That’s because the poetry world, like most areas of American life, has its own peculiar celebrity system — and if the rewards of that system rarely involve gift suites filled with swag from Jean Patou, they remain tempting enough to keep grown writers hustling. The problem is, poetic stardom is an unpredictable business. Good writing doesn’t guarantee a reputation; bad writing doesn’t guarantee oblivion; nor can grace, money or nimble careerism entirely explain why Poet X reads to overflowing auditoriums, whereas Poet Y reads to his cats. Maybe it’s simply the case that, as William Munny remarked in “Unforgiven,” “deserve’s got nothing to do with it.”

Anyone who knows me the least little bit knows why I identify with the above.

In other news: my niece in Texas just had a baby. Hurray! A girl named Sydney. And we are making plans to go to Port Clyde, Maine, for another niece's wedding in May. A week on the Maine coast! I'm really looking forward to it.

Cold here. Don't you Midwesterners and Northeasterners laugh, but it has been in the 40s. I don't deal well with cold, so that's quite enough.

Quick now, here, now, always…

It's just that this is so cool. It makes me want to write a poem -- except I'm at work. Oh yeah. And they just gave me a nice token of appreciation 'cause they like me.

*****

I would give my two front teeth -- and more! -- to hear something (preferably something positive) about my manuscript, especially before having to send out another half dozen competition submissions before week's end.

Not So Fast, Eye of the Beholder!

Before reading any further, look at the images of the three sculptures and decide which one you find most attractive. No, this isn’t an offshoot of C. Dale’s caption contests—or is it? It’s from a study done in Italy (of course) on people’s responses to works of art. Actually the study itself may be somewhat less interesting than a comparison of the original study to a somewhat popularized summary in LiveScience.

The LiveScience story emphasizes the study’s implication that human perceptions of beauty—specifically, human responses to the classical “golden ratio”—may be genetically hard-wired, because most people pick the same image as their favorite. (Well, it’s not really “most people”; rather, it’s a majority of 14 Italian college students “with no experience in art theory.”)

The study itself focuses more on the different responses of the subjects (as shown by brain scans) to the three questions they were asked—whether they “paid attention” to an image when it was shown to them, whether they “liked” it, and whether they found it “proportional”:

In the condition in which the viewers were asked to indicate explicitly which sculptures they liked, there was a strong increase in the activity of the amygdala, a structure that responds to incoming information laden with emotional value. Thus, instead of allowing their nervous centers to “resonate” in response to the observed stimuli (observation condition), when the viewers judged the stimuli according to their individual idiosyncratic criteria (explicit aesthetic judgment), that structure was activated that signals which stimuli had produced pleasant experiences in the past.

This raises a lot of interesting questions! Were people’s responses to the images more spontaneous and honest when they were merely asked to observe them “as if in a museum” than when they were asked if they “liked” them? Were their responses more “conservative” when they were asked to shift into critic mode and pass judgment on the images, because then they applied the criteria they had developed from looking at other works of art that “had produced pleasant experiences in the past”? Were their responses more “romantic” because of activation of the amygdala, which “responds to incoming information laden with emotional value”? When I picked the same image as most people picked in the study, was I really responding to the “golden ratio” of the distance from his head to his navel to the distance from his navel to his knee, or was I just responding to the cute little swivel of his hip?

Riding to Moscow on Chairs

The current New Yorker has a wonderful review by James Wood of a new translation of War and Peace. The whole review is worth reading: it captures some of the novel’s most vivid, and “poetic,” moments, and the fact that they're poetic and what we mean by that are what interests me. The young man Petya is killed in battle, and his comrade Denisov “approaches the body and, as he looks at Petya, ‘irrelevantly’ recalls him once saying, ‘I'm used to something sweet. Excellent raisins, take them all.’ I think that “irrelevance” is of the essence of poetry.

One passage about the variety of translations seems particularly relevant to poetry:

In the novel’s epilogue, Marya enters the nursery: “The children were riding to Moscow on chairs and invited her to come with them.” That is exactly what Tolstoy writes, because he wants us to experience a little shock of readjustment as the adult meets the otherworldliness of childish fantasy. But Garnett, the Maudes, and Briggs [earlier translators] all insert an explanatory “playing at,” to make things easier for the adults. As the Maudes render it, “The children were playing at ‘going to Moscow’ in a carriage made of chairs, and invited her to go with them.”

This might seem like a trivial point, but it is a little clue to the vision of the whole novel. Tolstoy sees reality as a system of constant adjustments, a long, tricky convoy of surprises, as realities jostle together and the vital, solipsistic ego is affronted by the otherness of the world. Nikolai Rostov thinks that warfare is a glamorous business of “cutting people down.” But warfare is nothing like that, and when he finally has the chance to cut down a Frenchman he cannot do it, because the soldier’s face is not that of an enemy but “a most simple, homelike face.” He gets a medal and is called a hero, but can think only, “So that’s all there is to so-called heroism?” By the time Prince Andrei fights at Borodino, he has lost any sense he once had that a battle can be successfully commanded, and applauds General Kutuzov for at least knowing when to leave well enough alone. On a trip home, he sees two girls stealing plums from the estate’s trees, and is comforted, feeling “the existence of other human interests, totally foreign to him and as legitimate as those that concerned him.”

That difference between the alternative translations of “riding to Moscow on chairs” and “playing at ‘going to Moscow” in a carriage made of chairs” seems to capture perfectly what poetry is all about—as Wood says, the ego “affronted by the otherness of the world”—and also captures perfectly why language that is too “accessible” does not always serve the poem.

Tofu Stir-fry

I'm posting today because I haven't posted for ages. I've seem to have had things to say, but my sluggish brain has not been ready to follow through. I'm still not certain how successful this post will be, so you might as well lower your expectations. Regular visitors to this blog already know that the posts that have meat in them are Robert's. Yeah, this is a tofu post. Tofu stir-fry.

Wanted to post this link to an interview Zack Rogow did with Bob Hass. (I feel obligated to my fellow po groupers, to wave their flags, having been one who started our workshop way back. Way back. Yes, once upon a time we even met in John's studio across from the ball park when the ball park wasn't even a gleam in anyone's eyes and the neighborhood was dumpsterville. Way back Bob Hass came to our group too -- only once, and it was on his side of the Bay, in Orinda. I remember the poem he brought. I remember the poem I brought.)

We are sick, sick, sick about the oil spill in the Bay! How can you crash into the Bay Bridge? Isn't it big enough? Oh, it was foggy. Well, duh. I am so upset about this, my brain starts to sputter when I think about it. I cannot look at the wildlife-coated-in-oil photos.

I am off from work today, thank you, veterans. As a pacifist, that's about the extent of my gratitude. I know most people think some wars are necessary or inevitable, but I don't understand how you solve anything by killing X number of people.

I have not been writing a lot. I don't want to make excuses. Even my reading has been sporadic. But I read a very interesting essay on Creeley by Charles Simic, published in NY Review of Books, October 25. Now Creeley never really did much for me, was just sort of on the periphery of my vision. But Simic totally impresses me as a poet who can talk about poetry in a way that is more interested in substance than in impressing you with his erudition -- a rare and totally welcome breath of fresh air -- and yet who doesn't look to get extra points for folksy ways, like some other poets laureate. (Not talking about BH. Bob is the best!) Anyway, what he said, by way of preamble, was "Unless one is an inmate serving a life sentence in a state penetentiary, a book of a thousand poems is nearly impossible to read... More to the point, there are not many poets, even among our best ones, who are likely to have more than eighty pages worth reading."

I personally, don't want to argue the point -- it is the emperor's-no-clothes attitude of the statement that impresses me. He also said -- and here I'd like to get input, if you have any opinions on the matter -- that "They [Creeley's early poems] were almost all about love, a subect of considerable interest to a vast number of human beings that for some curious reason is absent from the work of many of our poets today, who, unlike poets in other cultures, generally stay away from any overt expression of erotic feelings, as if love and sex were of little concern to them."

Do you think this is so? Not whether or not love and sex were Creeley's early subjects, but that many of our poets today shy away from this?

Bronze by Gold

The more I read, the more I come back to James Joyce. Radically innovative in both form and content, Joyce also wrote language unrivaled for sheer beauty and told moving human stories. He was both radically traditional and revolutionary. I really can’t think of a 20th Century poet who came anywhere close to Joyce’s success in creating the literature of the future without sacrificing the artistic values of the past that deserve to be saved. William Carlos Williams? Please. Eliot, Pound, Stein, Stevens …? If there had been such a poet, I suspect more people would be reading poetry now.

Bronze by gold heard the hoofirons, steelyringing.
Imperthnthn thnthnthn.
Chips, picking chips off rocky thumbnail, chips.
Horrid! And gold flushed more.
A husky fifenote blew.
Blew. Blue bloom is on the.
Goldpinnacled hair.
A jumping rose on satiny breast of satin, rose of Castile.
Trilling, trilling: Idolores …

—James Joyce

Fear of the Past

I fear this will be one of those posts that will interest no one but me (they come so fast and furious), but I’ve been thinking about my feelings about the future and the past. Readers of Ron Silliman’s blog will have noted his recent use of the term neophobe to refer to poets “afraid of the new.” That argument doesn’t particularly interest me at the moment, but I’ve been thinking about whether there’s a corresponding “fear of the old” (perhaps we could call poets who suffer from it senaphobes).

What interests me is the idea that there really is validity to this observation about the relationship of different poets to the past and the future. If we avoid derogatory terms like neophobe and talk in less loaded terms like “postromantic” and “postmodern,” there are clear differences between the typical interests of postromantic and postmodern poets. It is a cliché, but a valid one, that “romantics” are interested in love, beauty, imagination, and nature. I think it is equally true (if less noticed) that romantics are typically interested in the past, both historical and mythological. Of course this is not the same as saying that romantic poetry is of the past. If anyone is still reading anything five hundred years from now, chances are good they will still be moved by a poem like Wordsworth’s “The world is too much with us,” because if human beings survive that long, they will probably feel all the more that the world is too much with them and will long to hear the sound of that old horn:

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon,
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.—Great God! I'd rather be
A Pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathed horn.

Happy Birthday, John Keats!

Keats was born on October 31, and this great poem of his seems appropriate to Halloween. It was written toward the end of his life in the margin of another, very different poem he was working on, and the story is that he was thinking of Fanny Brawne when he wrote it, but no one knows for sure. It may simply have been notes toward a drama he was thinking of writing.


This Living Hand


This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou wouldst wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calmed—see here it is—
I hold it towards you.

Stupidest Man Alive

So yesterday afternoon I'm home working on a poem. I go out to the garage to look for mail, and I hear a door slam. The front door has blown shut and I'm locked out without keys or phone. I feared I'd be there all day, but luckily, with the help of a small stepladder from the garage, I was able to go around to the back of the house and climb over the back fence (not so easy for an old guy like me!) and (again luckily) I'd left the back door open because I'd been going in and out of the patio. Actually I think it's because the back door was open that enough of a wind went through the house to blow shut the front door, because that's never happened before. Now does that make me the stupidest man alive? Of course not. It could happen to anyone, right? No, what makes me the stupidest man alive is that a couple hours later I DID THE SAME THING. Yep, locked myself out the exact same way and had to take the stepladder around the house to the back and climb over the fence for the second time to get back in. Possibly I can blame it all on my being in a poetic trance. Or perhaps I'm just The Stupidest Man Alive.

Checking In

I’m three weeks into my four-week “writer’s colony at home,” and yesterday I finished the draft of a new book. There’s still a lot (months) of work to be done, but the draft is on the table! I’m not sure I’ll follow C. Dale’s method of letting it sit for six months, but if I start working my way through it now, it’ll probably be at least six months before I get to the sections I wrote recently.

I couldn’t sleep last night and got up early and found myself rereading Robert Hass’s Twentieth Century Pleasures, particularly his essay on James Wright. I read Wright’s Shall We Gather at the River when I was 18, and it was my first love in contemporary poetry (I’m afraid my own poetry still has its weaknesses without its strengths). Later I got into the poets like Robert Creeley, Robert Duncan, and Gary Snyder who were considered cooler and hipper, especially in the Bay Area, but you never get over your first love.

A Day Off

A gorgeous day in paradise, and just given to me, handed to me on a blue-sky platter. Yes, I got the day off, a total surprise, but then the company I work for contracts with the government; they're off, so we're off. After days of errands and appointments and (yesterday) baseball, I needed some time of quiet and peace. The baseball was on TV and was the choice of son and daughter-in-law and niece, and so they watched and I was in the (figurative) bleachers, working the aisles, plying them with food. I pretty much cooked all day -- though no one made me, I guess -- and by evening was exhausted and feeling guilty that I had squandered the gorgeous day of a thousand things to do in the city. (Yeah, those that know me know guilt comes to me as easily as a blush.)

So, okay, today, Greta (see pic) and I were determined to get out and enjoy the best weather of the year in San Francisco. My fumble with the camera made me miss her legs-in-the-air delight, but you can see her pleasure nevertheless. Now the renovation of the park by Pine Lake is just about finished, and dogs and the ducks, the heron and hawks, and the two somber cormorants all concur that they did a fine job.

Later, I sat out back of my house and invited the Muse to join me, but he was petulant, implying that ignoring him for months at a time and then just expecting him to show the one day I can finally find the time, well, it just doesn't cut it. I put a few lines down on paper, but they're going nowhere. Maybe Muse and I can rendevous again before too long.

Vanishing Point

That’s the name of a poem of mine recently accepted by Blackbird, one of my favorite litmags. It’s been a dry spell for acceptances so I’m taking that as a good omen. The title is also appropriate as I’m vanishing for a month, taking four weeks (four weeks!) off from my job to stay home and write: “my own private Yaddo,” as a friend of mine calls it. My plan is to generate as much new work as possible and worry about revision later. Ideally I'd like to finish a draft of a new manuscript I've been working on. I am going to try not to get distracted by the house remodeling we’re in the middle of, nor by preparing for my upcoming brief panel presentation at AWP on poetry and religion. I will say that “Vanishing Point” is a poem that fits right into that topic! But here’s a poem by Emily Dickinson that fits even better. One thing that makes the poem so great, I think, is that 150 years after Dickinson wrote it, it’s still hard to say if it’s a poem about the glory of creation or the terror of a lonely, chaotic universe—or both.

721

Behind Me—dips Eternity—
Before Me—Immortality—
Myself—the Term between—
Death but the Drift of Eastern Gray,
Dissolving into Dawn away,
Before the West begin—

’Tis Kingdoms—afterward—they say—
In perfect—pauseless Monarchy—
Whose Prince—is Son of None—
Himself—His Dateless Dynasty—
Himself—Himself diversify—
In Duplicate divine—

’Tis Miracle before Me—then—
’Tis Miracle behind—between—
A Crescent in the Sea—
With Midnight to the North of Her—
And Midnight to the South of Her—
And Maelstrom—in the Sky—

—Emily Dickinson

What I Did On My Vacation: Ireland

How to sum up two weeks in one blog post? Would have been better to keep up to date daily as I've done with holidays in the past, but we brought no computer and only accessed one briefly at a home in which we stayed. I didn't write a word either. Mostly, unless we were asleep, things were happening. In that way, though it was only two weeks, it felt like a year, and though it was Republic of Ireland, it felt like we had traveled galaxies.


First the backstory. This was my second trip to Ireland. When I was 18 and graduated high school, I had the opportunity to travel to Ireland (and other places in Europe) with my high school friend. We spent a good part of the summer there, including traveling around rural Ireland with her uncle the priest. All of her relatives were amused that I was the one, with my red hair, who looked Irish, although, in fact, I'm Jewish by heritage. Well, her brother, a budding photographer, took photos of us at the airport. Six years later, John and I celebrated our wedding. This trip was John's first time anywhere in Europe. He turned 60 on September 3, our Labor Day, and being Somewhere Else would help him to deal with it. Well, it was apparent that if we were going to wait until we could afford a European vacation, we were never going to go. So off we went anyway.

These pictures I'm posting here are John's -- well, except for this one I took of John on the john, on a toilet hole we found on the fourth floor of Carrigafoyle Castle. These were just the snaps. We brought with us a suitcase apiece and one probably bomb-proof case of John's studio camera with digital back (16 megapixels). So in addition to these, he did some serious picture taking. Oh, he wanted castles and we found castles. When he is occupied in this way, there's no hurrying him up. Here's a picture of me being patient/bored while waiting for him to capture every angle and shadow in the Glendalough monastery.

We arrived in Dublin and stayed in a B&B for the first two days and then John's cousin Ursula picked us up and brought us to her sister Geralyn's. Ursula lived in the same apartment house as John in Brooklyn when they were small and has been to the States many times and we know her well. She's a successful playwright and fiction writer and we have always gotten along. As we got into Ursula's car, she looked out and said there's Roddy Doyle walking down the street. He was carrying a newspaper and his groceries.

The really, really sad thing is Ursula and Geralyn's brother Michael was dying. He was fading, we knew, as we left, and John got to see him and squeeze his hand on one of his last days. When Michael was 8 and John was 16, Michael idolized him, so it was so important. Yes, he did die, and we cut short our travel in the West to come back for the service in Glasnevin cemetery. Michael was a staunch atheist and insisted on being cremated, so the service was different to all. Hundreds packed into the chapel -- SRO. It was amazing, like a scene out of a movie, only we were in it. And most of the folk were related to John. He met uncles and cousins and cousin's progeny. Did I say that his mother was one of eleven?

Before we returned to Dublin for Michael's memorial, we saw Dublin for five days and then left for points south and west. Dublin is a vibrant and bustling place, where the old and the new are side by side. Gone are the days of poverty and hardship! Yeah, it was our luck to visit Dublin when the Euro was at its highest. Here's a flower stand on Grafton Street, the street where, it's said, Dubliners go for retail therapy.

When we left Dublin, we rented a car. I should say John did the driving, and it was terrifying. Not only do they do everything entirely in reverse from the way we do, but the roads are often incredibly narrow. Here's a picture of what was supposedly a 2-way road in Wicklow County. When someone comes the other way, you back up. These roads were actually less terrifying than the ones that were wide enough for opposing traffic that would whiz by you at terrifying speeds -- no shoulders -- we often brushed the high hedges along the side of the road.

In Wicklow, we visited the above-mentioned monastery and took a three-hour walk around a lake. In Kilkenny, we visited the castle and cathedral and climbed the round tower. Also got to hear some trad music. Here are some Kilkenny snaps. We went to Kilarney, a tourist town if there ever was one, and from there, like everyone else, drove the Ring of Kerry.

On the Ring of Kerry we found the picture-perfect castle John was looking for -- Ballycarbery -- overgrown with ivy and crumbling. That was also where I slipped on a cowpie and fell (fortunately, not in a cowpie). We came back in the glowering twilight, careful not to hit meandering sheep.

We went from Tralee to Listowel to Tarbert and took a car ferry next to a trailer filled with terrified longhaired horned sheep and drove to Ennis. There we stayed one night in a guesthouse built in 1650 and then headed back to Dublin, or more specifically, to Howth where stayed with another cousin. This is the Howth, as Robert reminds me, of Molly Bloom's monologue: "...the sun shines for you he said the day we were lying among the rhododendrons on Howth head ..."

Our last day in Dublin, a cousin, Tadgh, who seems to know everyone who is anyone in Dublin, took us around, full of stories about teaching Arnold Schwarzenegger to say "I'll be back," in Irish...


That night, we dined with four cousins in Trocadero, a photo-lined restaurant that caters to the theatregoers and actors. They did not hurry us out and gave us free drinks. By the time we got back to Howth and then packed, we had less than four hours to sleep.

We never got to see any theatre -- it seemed enough to be in our own movie, and anyway, the timing wasn't right. (The following week there would be a production of Synge's "Playboy of the Western World," a version Roddy Doyle was involved in that was supposed to be provocative and experimental.) I did get to see a street performer who mimed the James Joyce statue pick up his take for the day and stride home. I got into one argument about poetry and bought a Seamus Heaney collection and a book on Irish birds.

The Kitchen

This is the kitchen of the house where I grew up. When my mother died Cheryl and I decided to fix up the house and move in, but as you can see, we’ve got a ways to go: it’s radical revision. This is the kitchen where my grandmother baked chocolate chip cookies and I licked the bowl. This is the kitchen where years later my grandmother tried to bake bread at 3:00 a.m. and couldn’t remember how. This is the kitchen where I carved pumpkins and played Monopoly. This is the kitchen where I read Peanuts every morning in the Chronicle and, later, the jazz and rock reviews by Ralph J. Gleason. This is the kitchen where my aunt slammed the door and I pretended she had slammed it on my finger and she got hysterical and my mother screamed and hit her so I couldn’t confess what had happened and had to sit for an hour with my hand in a bowl of ice water to keep down the nonexistent swelling. This is the kitchen where I paid my mother’s bills when her eyesight got too bad to write checks, and this is the kitchen where my stepfather broke his hip when he tried to kick the beach ball across the floor. This is the kitchen they would kick Cheryl and me out of when they had us over for dinner so they could cook in privacy and argue in privacy over who had put what in the salad dressing. This is the kitchen where the liquor cabinet was a shrine full of mysteries, not so much the liquor as the jars of ancient maraschino cherries and, especially, the Angostura bitters that I watched my mother grind into sugar cubes and that smelled like nothing else in my world. This is the kitchen where I washed the pots and pans (my main household chore) and wasted a Tahoe of water. This is the kitchen where I ate Cream of Wheat and chuck roast with prunes and soft-boiled and fried and poached and scrambled eggs and frozen “Italian vegetables” and frozen French fries and Chinese chicken salad and (the worst) German “wilted salad” and “tuna boats” on Fridays and (the best) burnt sugar cake and English muffins and sliced apples and watermelons and papayas and plantains and pineapples and pears and persimmons and pomegranates and white peaches and black plums.

Spring and All

I was interested to read this recent post by Ron Silliman. So often people talk in abstractions (“accessibility,” “slippage”) about poetic issues that it’s refreshing to see a couple specific examples, one of them Robert Creeley’s great poem “I Know a Man.”

I stopped when Silliman said, “Creeley’s famous ‘I Know a Man’ derives much of its power from precisely the fact that the reader situates the key verb, drive, into two possible contexts, one in which the word belongs to the narrator, the other in which the word belongs to John …. Creeley himself said that the former was his original intent, but even he had to acknowledge that readers everywhere could hear both.”

Is this true? Yes, the drive is ambiguous, but is it true that the poem “derives much of its power” from the ambiguity? I would guess that most readers, while acknowledging the ambiguity, read drive as belonging to John, for a variety of reasons such as the stanza break before “drive, he sd.” I would say that most of the poem’s power derives from the sudden shift to “John’s” perspective in the last stanza, and that the ambiguity is relatively uninteresting. What Silliman says about the poem being “a text about primal need in an existential universe” is undeniably true, but isn’t that still true if we read drive unambiguously as John’s command? I’m not objecting to ambiguity per se. I think some poems do derive their power from the multiplicity of interpretations open to the reader. I just don’t think this poem is one of them.

Silliman’s other example is a section of Rae Armantrout’s poem “Grace”:

a spring there
where his entry must be made

signals him on

What does this mean? (Don’t cheat and read ahead for the “answer” as I confess I did when I read Silliman’s blog.) My initial impulse when first reading the passage was to take spring as the season, and “his entry” as an almost abstract (dare I say Merwinesque?) quasi-spiritual quasi-pastoral being (let’s say the magical stag in Harry Potter rather than Merwinesque). I would have had a different take if I’d dwelled on it for another 30 seconds, and yet another take if I’d dwelled for yet another 30 seconds, which is partly the point. Anyway, Silliman’s very interesting point is this:

Whenever I’ve asked students to “tell me what this means,” whether at San Francisco State in 1981 or at Naropa as recently as last summer, I’ve been offered a variety of narratives – … one being the idea of a diver in that instant leaving the board before the arc & splash of the event, the other that of the “step into character” that comes over an actor or actress as they make their entrance from backstage. Never in 26 years has a student offered the narrative Armantrout herself gave me when asked, that of vaginal lubrication. But this doesn’t make any of these narrative scaffolds wrong. All three, in fact, line up the key terms in this passage into roughly the same configuration, tho Armantrout’s own version is the most intimate.

This raises so many questions. It’s certainly true that, of the three narratives, Armantrout’s is the most intimate, although the actor’s story may be the most interesting. The question is whether the power of the poem is increased or decreased by the openness and multiplicity of interpretations. (I just noticed I spelled “Rae” as “Ray” above, which might make someone think Armantrout is a he, which might or might not affect the interpretations, especially the “intimate” one.) Another question: If the multiplicity of interpretations is interesting, would it be more or less interesting if the ambiguity were “clarified”? If the simultaneous perception of diver/actor/lover is interesting, would it be more interesting or intolerably clichéd to make it explicit (“When he entered her he felt like an actor stepping into character …”)?

It’s interesting that Ron talks about how these poems derive their power, as power is the key issue. Obviously one of the distinctions between experimental and mainstream poetry is that experimental poetry typically wants to share more power with readers (regardless of readers' possible desires for a poem to exert its power over them), or to abandon all power in a Buddhist-like renunciation. My instinctive reaction is that if Armantrout is not “attached” to whether I “get” her erotic interpretation or substitute an interpretation of my own, then why should I care about the poem? (I like many of Armantrout’s poems very much, by the way—that’s not my point.) The instantaneous collage in the reader’s brain of spring as “stiff curl of wildcarrot leaf,” spring as erotic arousal, spring as Slinky toy, spring as Sierra thaw, etc. etc. does not inevitably strengthen the poem. So much of contemporary poetics seems to revolve around this strange power struggle where writer and reader fight over the right to transfer their power to the other like a hot potato.

Nessun dorma

Luciano Pavarotti, 1935-2007. It’s hard to say rest in peace to someone whose signature aria was “Nessun dorma,” “No one sleeps.” Check out this heartbreaking video, not heartbreaking because Pavarotti is dead but just because his voice is so damn gorgeous. I suspect even opera lovers with legitimate complaints about Pavarotti as a musician and actor have to admit there have been a couple occasions where they’ve been moved as deeply by his singing as by just about anything in their life.

A couple decades ago when I worked behind the counter at Caffe Trieste, serving espresso to Ferlinghetti et al. in one of the original Beat coffeehouses in North Beach, and not caring anything about opera, I’d still find myself almost every evening putting a quarter in the jukebox to listen to “Nessun dorma.” Not great poetry, I guess, but the line “quando la luce splenderá” always gets to me: “when the light shines,” but I always hear it as a more literal translation—“when the light … splendors itself ….”

On my way

By this time tomorrow, John and I will be on our way to Ireland. I'm excited and apprehensive. I haven't been out of the North American continent since my early twenties. Without being too specific, let's just say that was a long time ago (John has never been to any part of Europe, although he's spent time in Haiti and in Japan.)

We will be gone two weeks. I'm not taking a computer (omigod, is that possible?) and though it's conceivable that I might post from one of John's cousin's computers or from an Internet cafe, it's unlikely. Well, the infrequency of my posts here is such that no one will be holding his or her breath.

I bought a lot of (used) Irish literature to get us in the mood, but the quotidian takes its toll, and we haven't made much headway into it. (I'll bring what I can for the long flights.) We have been listening to Dubliners (Joyce) on CD during our respective commutes, courtesy the SFPL. It's the second time for me, and quite enjoyable. It's hard, though, when a line comes along that I want to savor or (heh heh) collect as an epigraph. A choice line can be a springboard into a poem for me.

Will I write while away? Well, who knows. We've got quite an itinerary planned -- a week in Dublin visiting John's cousins, and a week driving through the south and west. I know John will be taking an enormous number of photos. Thank god for digital, or it would be a small fortune. The trip, of course, is a large fortune. But you only live once.

Ah, so here's the itinerary: We hope to see Trinity College in Dublin and the Book of Kells (not quite sure what else in Dublin, but probably a lot of John's relatives), also Newgrange (Ireland's Stonehenge-type ruins), Glendalough in Wicklow county, the Galtee mountains, the Ring of Kerry, the Dingle Peninsula. We want to go from Killarney to Tralee to Listowel to Tarbert, take the car ferry to Kilrush then stay at Ennis. We'll hopefully see the Cliffs of Mohr and Connemara and the town of Galway. And that's for starters.

Poetic Orientation

Questions and Answers from the American Poetry Association on Poetic Orientation

What Is Poetic Orientation?

Poetic orientation is an enduring emotional, poetic, or aesthetic attraction to poetry of a particular perspective. Poetic orientation exists along a continuum that ranges from exclusively mainstream to exclusively post-avant and includes various forms of bipoeticity. Bipoetic persons can experience poetic and aesthetic attraction to poets of both their own poetic orientation and the opposite.

What Causes a Person To Have a Particular Poetic Orientation?

There are numerous theories about the origins of a person’s poetic orientation; most poets today agree that poetic orientation is most likely the result of a complex interaction of environmental, cognitive and biological factors. There is also considerable recent evidence to suggest that biology, including genetic or inborn hormonal factors, play a significant role in a person’s poetic orientation. There are probably many reasons for a person’s poetic orientation and the reasons may be different for different people.

Is Poetic Orientation a Choice?

No, human beings can not choose to be either mainstream or post-avant. Poetic orientation emerges for most people in early adolescence without any prior poetic experience. Although we can choose whether to act on our feelings, poets do not consider poetic orientation to be a conscious choice that can be voluntarily changed.

Can MFA Therapy Change Poetic Orientation?

No. Even though most mainstream and post-avant poets live successful, happy lives, some may seek to change their poetic orientation through MFA therapy, sometimes pressured by the influence of family members or writing groups to try and do so. The reality is that neither the mainstream nor the post-avant is an illness. It does not require treatment and is not changeable. Not all poets who seek assistance from teachers or bloggers want to change their poetic orientation, although both mainstream and post-avant poets may seek help with the coming-out process or for strategies to deal with prejudice.

What About So-Called “Conversion Therapies”?

Some teachers who undertake so-called conversion therapy report that they have been able to change their students’ poetic orientation from mainstream to post-avant or vice-versa. Close scrutiny of these reports, however, show several factors that cast doubt on their claims. For example, many of the claims come from institutions with an ideological perspective which condemns either the mainstream or the post-avant. Furthermore, their claims are poorly documented. For example, MFA treatment outcome is not followed and reported over time as would be the standard to test the validity of any poetic intervention.

The American Poetry Association is concerned about such therapies and their potential harm to patients, and has passed a resolution reaffirming its opposition to both avantophobia and quietudophobia in treatment, and spelling out a poet’s right to unbiased treatment and self-determination. Any person who enters into a program to deal with issues of poetic orientation has a right to expect that such a program would take place in a professionally neutral environment absent of any social bias.

Is Mainstream or Post-Avant Poeticity a Mental Illness or Emotional Problem?

No. Professionals agree that they are not illnesses, aesthetic disorders or emotional problems. Over 35 years of objective, well-designed aesthetic research has shown that neither postmodernism nor post-romanticism is associated with aesthetic disorders or emotional or social problems. Postmodernism and post-romanticism were once thought to be aesthetic illnesses because poetry professionals and society had biased information. In the past the studies of mainstream and post-avant poets involved only those in MFA programs, thus biasing the resulting conclusions.

The American Poetry Association has confirmed the importance of the new, better designed research and removed both mainstream and post-avant poetics from the official manual that lists aesthetic and emotional disorders, and urges all poetry professionals to help dispel the stigma of aesthetic illness that some people still associate with mainstream or post-avant orientation.

Can Mainstream and Post-Avant Poets Be Good Parents?

Yes. Studies comparing groups of children raised by mainstream and by post-avant parents find no developmental differences between the two groups of children in four critical areas: their intelligence, aesthetic adjustment, social adjustment, and popularity with friends. It is also important to realize that a parent’s poetic orientation does not dictate his or her children’s.

Why Do Some Mainstream and Post-Avant Poets Tell People About Their Poetic Orientation?

Sharing that aspect of themselves with others is important to their aesthetic health. In fact, the process of identity development for post-avant and mainstream poets called “coming out” has been found to be strongly related to aesthetic adjustment—the more positive the mainstream or post-avant identity, the better one’s aesthetic health and the higher one’s self-esteem.

Why Is the “Coming Out” Process Difficult for Some Post-Avant and Mainstream Poets?

For some post-avant and mainstream poets, the coming-out process is difficult; for others it is not. Often post-avant and mainstream poets feel afraid, different, and alone when they first realize that their poetic orientation is different from the norm. They may have to struggle against prejudice and misinformation. They may fear being rejected by family, friends, co-workshoppers, and academic institutions. Some poets have to worry about losing their jobs or being harassed if their poetic orientation became well known. Unfortunately, studies have shown that nearly one-fifth of all mainstream poets and more than one-fourth of all post-avants have been the victim of a some form of aggression, from name-calling to aesthetic violence.

What Can Be Done to Overcome the Prejudice and Discrimination that Post-Avants and Mainstream Poets Experience?

Research has found that the people who have the most positive attitudes toward post-avant and mainstream poets are those who say they know one or more post-avant or mainstream poets well—often as a friend or co-workshopper. For this reason, poets believe negative attitudes toward post-avant and mainstream poets as a group are prejudices that are not grounded in actual experiences but are based on stereotypes and prejudice.

Why is it Important for Society to be Better Educated About Poetic Orientation?

Educating all people about poetic orientation is likely to diminish prejudice. Accurate information is especially important to people who are first discovering and seeking to understand their poetic identity—whether mainstream, post-avant, or bipoetic. Fears that access to such information will make more people post-avant or mainstream have no validity—information about poetry does not make someone either mainstream or post-avant.

Are All Post-Avant and Mainstream Poets HIV (Human Ironydeficiency Virus) Infected?

No. This is a commonly held myth. In reality, the risk of exposure to Human Ironydeficiency Virus is related to a poet’s behavior, not their poetic orientation. What’s important to remember about Human Ironydeficiency Virus is it is a preventable disease through the use of safe writing practices and not using drugs.

What is summer?

I remember it vaguely. I remember lying in the cooling grass to combat the heat. I remember pavement so hot you could fry the proverbial egg. And tomatoes on the vine. And sunburn.

The latest issue of POETRY is filled with what could be called, if not light verse, at least summertime poems. All the newspaper and online columnists long ago published their recommendations for summer reading.

Some people, in the face of summertime indolence, seem to hardly have energy for reading. At least that seems to be the gist of the piece I heard by Andrei Codrescu on All Things Considered the other day. He seemed to put down people who were too busy to experience the slow, lazy days of summer.

Well, we haven't been avoiding summer, but it's been avoiding us. Now that our Big Event is over and the deck (hah!) is built, we're busy paying for all that. Driving to work daily has actually been our only chance to see, if not experience, what other people call summer -- or at least sun. High up on a hill in San Francisco's Ingleside neighborhood, days go by without the sun coming out -- or with it coming out just long enough to set in splendor into the ocean. So yeah, in my brief walk from car to office at Moffett Field I can smell the star jasmine. And when John takes a break from his San Rafael studio to take the dog out, he can watch her kick up her heels in the nearby grassy lawns. That's been our summer.

We may have a barbecue on the deck this Sunday. That will mean turning on the patio heater we bought for it. But that's not real summer. That's not lying in the hammock under the sugar pines, smelling the dust.

So what? S'okay. We'll live. We're actually going to take a vacation in a little bit, in September -- probably miss a good part of the sunny weather here -- and visit John's family in Ireland. Life isn't bad, just busy. And I do miss summer.