Thursday, April 12, 2007

Poems in Dialogue



"They Flee from Me That Sometime Did Me Seek"

They flee from me that sometime did me seek
With naked foot stalking in my chamber.
I have seen them gentle tame and meek
That now are wild and do not remember
That sometime they put themselves in danger
To take bread at my hand; and now they range
Busily seeking with continual change.

Thank'd be fortune, it hath been otherwise
Twenty times better; but once in special,
In thin array after a pleasant guise,
When her loose gown from her shoulders did fall,
And she caught me in her arms long and small,
Therewith all sweetly did me kiss,
And softly said, Dear heart, how like you this?

It was no dream: I lay broad waking.
But all is turned from my gentleness
Into a strange fashion of forsaking;
And I have leave to go of her goodness,
And she also to use new-fangleness.
But since that I so kindely am served,
I would fain know what she hath deserved.

-- Sir Thomas Wyatt (1503-42)


-------------------------------



Before Time

On one or two occasions
It was different: she lingered

At the window, turned—I was
Desirable because for a moment

I was anybody. The distance
Seemed to disappear without us
Moving but more than what followed

I remember the open window.
Taxis idling by the park.
Streetlights shining

Through the hemlock and the usual sounds
Of traffic, shouts—all of it
Starkly present and at the same time

Incomplete; as if a space I'd never
Wanted had been filled

At the moment
I wanted it: branches

Swirling at the window as
Her clothing dropped
To the floor. If I have chance

To thank for this moment
I'd like to know what she deserved.

-- James Longenbach (1959–)

Wednesday, April 11, 2007

3 Generals Spurn the Position of War 'Czar'



Bush Seeks Overseer For Iraq, Afghanistan

The White House wants to appoint a high-powered czar to oversee the wars in Iraq and Afghanistan with authority to issue directions to the Pentagon, the State Department and other agencies, but it has had trouble finding anyone able and willing to take the job, according to people close to the situation.

At least three retired four-star generals approached by the White House in recent weeks have declined to be considered for the position, the sources said, underscoring the administration's difficulty in enlisting its top recruits to join the team after five years of warfare that have taxed the United States and its military.

"The very fundamental issue is, they don't know where the hell they're going," said retired Marine Gen. John J. "Jack" Sheehan, a former top NATO commander who was among those rejecting the job. Sheehan said he believes that Vice President Cheney and his hawkish allies remain more powerful within the administration than pragmatists looking for a way out of Iraq. "So rather than go over there, develop an ulcer and eventually leave, I said, 'No, thanks,' " he said.

The White House has not publicly disclosed its interest in creating the position, hoping to find someone President Bush can anoint and announce for the post all at once. Officials said they are still considering options for how to reorganize the White House's management of the two conflicts. If they cannot find a person suited for the sort of specially empowered office they envision, they said, they may have to retain the current structure.

The administration's interest in the idea stems from long-standing concern over the coordination of civilian and military efforts in Iraq and Afghanistan by different parts of the U.S. government. The Defense and State departments have long struggled over their roles and responsibilities in Iraq, with the White House often forced to referee.

The highest-ranking White House official responsible exclusively for the wars is deputy national security adviser Meghan O'Sullivan, who reports to national security adviser Stephen J. Hadley and does not have power to issue orders to agencies. O'Sullivan plans to step down soon, giving the White House the opportunity to rethink how it organizes the war effort.

Unlike O'Sullivan, the new czar would report directly to Bush and to Hadley and would have the title of assistant to the president, just as Hadley and the other highest-ranking White House officials have, the sources said. The new czar would also have "tasking authority," or the power to issue directions, over other agencies, they said.

To fill such a role, the White House is searching for someone with enough stature and confidence to deal directly with heavyweight administration figures such as Secretary of State Condoleezza Rice and Defense Secretary Robert M. Gates. Besides Sheehan, sources said, the White House or intermediaries have sounded out retired Army Gen. Jack Keane and retired Air Force Gen. Joseph W. Ralston, who also said they are not interested. Ralston declined to comment; Keane confirmed he declined the offer, adding: "It was discussed weeks ago."

Kurt Campbell, a Clinton administration Pentagon official who heads the Center for a New American Security, said the difficulty in finding someone to take the job shows that Bush has exhausted his ability to sign up top people to help salvage a disastrous war. "Who's sitting on the bench?" he asked. "Who is there to turn to? And who would want to take the job?"

All three generals who declined the job have been to varying degrees administration insiders. Keane, a former Army vice chief of staff, was one of the primary proponents of sending more troops to Iraq and presented Bush with his plan for a major force increase during an Oval Office meeting in December. The president adopted the concept in January, although he did not dispatch as many troops as Keane proposed.

Ralston, a former vice chairman of the Joint Chiefs of Staff, was named by Rice last August to serve as her special envoy for countering the Kurdistan Workers' Party, or PKK, a group designated a terrorist organization by the United States.

Sheehan, a 35-year Marine, served on the Defense Policy Board advising the Pentagon early in the Bush administration and at one point was reportedly considered by then-Defense Secretary Donald H. Rumsfeld to be chairman of the Joint Chiefs. He now works as an executive at Bechtel Corp. developing oil projects in the Middle East.

In an interview yesterday, Sheehan said that Hadley contacted him and they discussed the job for two weeks but that he was dubious from the start. "I've never agreed on the basis of the war, and I'm still skeptical," Sheehan said. "Not only did we not plan properly for the war, we grossly underestimated the effect of sanctions and Saddam Hussein on the Iraqi people."

In the course of the discussions, Sheehan said, he called around to get a better feel for the administration landscape.

"There's the residue of the Cheney view -- 'We're going to win, al-Qaeda's there' -- that justifies anything we did," he said. "And then there's the pragmatist view -- how the hell do we get out of Dodge and survive? Unfortunately, the people with the former view are still in the positions of most influence." Sheehan said he wrote a note March 27 declining interest.

Gordon Johndroe, a National Security Council spokesman, would not discuss contacts with candidates but confirmed that officials are considering a newly empowered czar.

"The White House is looking at a number of options on how to structure the Iraq and Afghanistan office in light of Meghan O'Sullivan's departure and the completion of both the Iraq and Afghanistan strategic reviews," he said. He added that "No decisions have been made" and "a list of candidates has not been narrowed down."

The idea of someone overseeing the wars has been promoted to the White House by several outside advisers. "It would be definitely a good idea," said Frederick W. Kagan, a scholar at the American Enterprise Institute. "Hope they do it, and hope they do it soon. And I hope they pick the right guy. It's a real problem that we don't have a single individual back here who is really capable of coordinating the effort."

Other variations are under consideration. House Democrats have put a provision in their version of a war spending bill that would designate a coordinator to oversee all assistance to Iraq. That person, who would report directly to the president, would require Senate confirmation; the White House said it opposes the proposal because Rice already has an aid coordinator.

Some administration critics said the ideas miss the point. "An individual can't fix a failed policy," said Carlos Pascual, former State Department coordinator of Iraq reconstruction, who is now a vice president at the Brookings Institution. "So the key thing is to figure out where the policy is wrong."

By Peter Baker and Thomas E. Ricks
Washington Post Staff Writers
Wednesday, April 11, 2007

Thursday, April 05, 2007

Study of Two Pears



I
Opusculum paedagogum.
The pears are not viols,
Nudes or bottles.
They resemble nothing else.


II
They are yellow forms
Composed of curves
Bulging toward the base.
They are touched red.



III
They are not flat surfaces
Having curved outlines.
They are round
Tapering toward the top.

-- Wallace Stevens

Wednesday, April 04, 2007

Psalm and Lament



Hialeah, Florida
in memory of my mother (1897–1974)


The clocks are sorry, the clocks are very sad.
One stops, one goes on striking the wrong hours.

And the grass burns terribly in the sun,
The grass turns yellow secretly at the roots.

Now suddenly the yard chairs look empty, the sky looks empty,
The sky looks vast and empty.

Out on Red Road the traffic continues; everything continues.
Nor does memory sleep; it goes on.

Out spring the butterflies of recollection,
And I think that for the first time I understand

The beautiful ordinary light of this patio
And even perhaps the dark rich earth of a heart.

(The bedclothes, they say, had been pulled down.
I will not describe it. I do not want to describe it.

No, but the sheets were drenched and twisted.
They were the very handkerchiefs of grief.)

Let summer come now with its schoolboy trumpets and fountains.
But the years are gone, the years are finally over.

And there is only
This long desolation of flower-bordered sidewalks

That runs to the corner, turns, and goes on,
That disappears and goes on

Into the black oblivion of a neighborhood and a world
Without billboards or yesterdays.

Sometimes a sad moon comes and waters the roof tiles.
But the years are gone. There are no more years.

-- Donald Justice

Tuesday, March 27, 2007

Tal Afar



Chris Hondros Photos (previous event)

Bomb attacks killed 77 people in Iraq on Tuesday, including 50 who died in twin truck bombings in the northwestern town of Tal Afar, police said.

Among other attacks, suspected al Qaeda militants killed 21 people in bombings targeting police and Sunni Arab tribes who have formed an alliance against the militants, officials said.

The attacks follow an upsurge in violence in Baghdad and outside the capital in recent days. U.S. and Iraqi security forces have deployed thousands more soldiers in Baghdad to try to stem a sectarian war threatening to tear the country apart.

Outgoing U.S. Ambassador Zalmay Khalilzad said on Monday al Qaeda was trying to undermine efforts by the Iraqi government and U.S. commanders to court tribal leaders and some insurgent groups to collaborate against the militant network.

One of the blasts in Tal Afar, a mixed town of Shi'ites, Sunni Arabs and Turkmen near the Syrian border, was detonated by a suicide bomber near a Shi'ite mosque, police said.

Police Brigadier Karim Khalaf al-Jubouri said the bomber lured victims to buy wheat loaded on his truck. A second truck bomb exploded in a used car lot. The attacks wounded 120 people.

"There was a huge bomb in the street," said one resident, Akram Ali, 27, referring to the attack near the mosque.

"More than 20 shops and houses were destroyed and some are still burning. Firemen are pulling bodies from the rubble."

In 2006, U.S. President George W. Bush held up Tal Afar as an example of progress being made in Iraq after U.S.-led forces freed it from al Qaeda in an offensive the previous year.

Near Ramadi, in western Anbar province, a suicide bomber exploded a car outside a restaurant on a main road, killing 17 people and wounding 32, a hospital source said.

The restaurant was frequented by police in an area where local tribes have joined the tribal alliance against al Qaeda in Anbar. Many police were among the casualties, the hospital source said.

INSURGENT LEADER KILLED

Earlier four people were killed in two blasts in Abu Ghraib, west of Baghdad. One of the dead was a military leader of one of Iraq's biggest Sunni Arab insurgent groups, the 1920 Revolution Brigades, the group said in an Internet statement.

The group identified the leader as Harith al-Dari, who is also the son of an anti-al Qaeda tribal leader.

The Brigades is believed to have given its tacit backing to Sunni Arab tribes who have formed the alliance against al Qaeda.

Relatives blamed al Qaeda for the attack. Al Qaeda has come into conflict with some tribes because of its adherence to a radical form of Sunni Islam and indiscriminate killings.

Dari's father is tribal leader Sheikh Thahir al-Dari, who is head of the al-Zobaie tribe, to which Deputy Prime Minister Salam al-Zobaie belongs. The deputy prime minister was the target of an assassination bid last week.

The Brigades is made up of mostly former military officers and is believed to mainly target U.S. soldiers.

Khalilzad, who left his post as ambassador to Iraq on Monday, said U.S. and Iraqi officials had held contacts with Sunni Arab insurgent-linked groups and were continuing to engage them to bring them into the political process.

In a move to address Sunni Arab concerns, Iraq's president and prime minister on Monday approved amendments to ease rules under which former members of Saddam Hussein's Baath party were banned from jobs in government and the security forces.

A U.S. combat post was also attacked by two suicide truck bombs and about 30 gunmen west of Baghdad on Monday, but American soldiers repelled them and killed 15, the U.S. military said on Tuesday.

The attack on the post in the Garma area was unusual given insurgents do not typically launch such large-scale assaults. Eight U.S. soldiers were wounded.

Monday, March 26, 2007

Singalong



You watch in street clothes. Why not
accept the easy way, the one
that's offered? The kind one?
Because it isn't easy or kind enough.
It has to be hard
to have brought us this far.

Any time soon
we'll manage to build barns,
paint, lock the padlocks, waive anything
dire. That way, we think it will keep
for us and for a while. Other
than that we sleep, nod
like reeds at the edge of a pond.
Those places left unplanted will be cultivated
by another, by others. Looking back it
will seem good. The majestic verandah.
All the ships numbered.
The hedges grazed
like autumn, or a blight,
like fruit.

-- John Ashbery

Saturday, March 24, 2007

Shortbus



In his aim to make an honest film about sex, John Cameron Mitchell (Hedwig and the Angry Inch) has taken a somewhat documentary approach to Shortbus, a film describing various New Yorkers' sexual pathos. Framed by shots roving a homemade diorama of the city, Shortbus is comprised of vignettes featuring actors who helped craft this story of people's disconnect in sexual endeavors. Jamie (PJ DeBoy) and James (Paul Dawson), a gay couple experiencing a lull in their relationship, visit Sophia (Sook-Yin Lee), a sex therapist whose inability to orgasm results in her clients inviting her to a sex club after which the film is titled. Sophia's husband, Rob (Raphael Barker), is also willing to experiment, so the two independently embark on adventures in self-pleasure. Dominatrix Severin (Lindsay Beamish) plays a crucial role in Sophia and Rob's lives, as her search for real humanity overlaps with their desire for passion. As each character's plot complicates, the viewer sees a similar melancholy bulldozing its way into these seemingly disparate lives. The depression is repeatedly used in comedic scenes, such as when James is asked on a date while still hospitalized for his attempted suicide. Yo La Tengo's score, which includes Animal Collective among others, lends this film a graceful ambience. Unlike porn, Shortbus has a resonance that encourages the viewer to consider one's own sex life as an important aspect of happiness. --Trinie Dalton

Shortbus

Tuesday, March 20, 2007

from : Girls on the Run



VII

The thread ended up on the floor,
where all threads go.
It became a permanent thing, like silver:
Every time you polish it, a little goes away.
Then the ducks arrived, it was raining.
Such a lot of going around and doing!
Sometimes they were in sordid sexual situations;
at others, a smidgen of fun would intrude on our day
which is there to be intruded on, anyway.
Its value, to us, is incommensurate
with, let's say, the concept of duration, which kills,
as surely as a serpent hiding behind a stump.
Our phrase books began to feel useless‹for once
you have learned a language, what is there to do but forget it?
Each illustration changes us.

These were cloistered. They stayed
with us that winter, then went on a little while.
Soon they were back. It was partially time to go out in the opening.
Some enjoyed it.
Then, if they were true,
the blue rabbit heaped bones upon them. There was no going back,
now, though, some did go back. Those who did
didn't get very far. The others came out a little ahead,
I think. . . I don't know.

Look, this is what I am, what I was made of.
Am I therefore to usurp the rose
that blows on time's pediment, wrapping all wisps in a kind of bundle
of awe? But the sundial smiled in the rain, the stile
beckoned, the sign said it was three miles. In the lane the parson's
ambulance pestered gold pigtails, who were in for a shock
of course when the fox returned smiling, fanning his great tail in the corset
of the lighthouses the sausages were so concerned about.
Did the game of stealing please many? Here, on the other side, they were in sync,
their bowls of muesli crooning to the sidelong bats of evening, and then they were let out
to smoke a cigarette in the meadow. No one knew how many
tried to escape, or how many were successful. You had to read it
in the evening's news, and by then sea-cows were weary.
They taxed themselves out of existence. Our raft capsized
and they opined the day was bright with promise, though shut off
from what really happened. It was time for golf.

This was that day's learning.

Finally when Angela could retrieve her moorings they sent the tide out,
but it came back next day, increasingly bizarre.
Bunny and Philip weren't sure they wanted to see more. "But you must,"
Angela urged, breathing a little faster. Then they all wanted to know why it goes on
all the time, and the preacher answered it was due to bats. In the silos. Oh,
I thought you wanted to know, Philip said. We do, but other than you there are two
pails formally, and no one can figure out what is inside. Indeed? Well I'll
take the plunge Philip volunteered. He was always a brave little kid.
Now it was this side of sunset again. Nobody knew which was in error: the stove, or its waistband.
After which the elm buds chanced a summer intrusion
and all the nifty year was almost gone. Well isn't that a catastrophe, Aunt Clara gurgled,
or are some of you please going to take it outside? Aw, but it's raining, someone grumbled,
Why can't we stay inside and have school?
Yes but the quitter must go far out into the bogs. It's time for the badgers to nest
and who is that coming over the hill this time? It's
Spider, Angela suggested.

But as for leaving you all without a tale to tell, I would be daft,
nay derelict, not to insist on where the others have gone. Isn't there a place
to stop, that we'll all know about when we come to it?
Yes there is, she said, we'll just all have to back down
into the gloom, and bait our hooks with peanut butter
which is what they did
and so they left home that day.

-- John Ashbery

Monday, March 19, 2007

So Long, Santa



You were good to us,
but we’ve got to think these things
out for ourselves, check in with you
later – why did I say that?
Not everything has to be
as big and full as earth.

After he found a million dollars in a slot
the boy persisted, dying without uncovering a lot.
It’s good to be painful
because it will come round again
and we won’t be ready:
Barbara Allen’s cruelty, the night wind
biting at scarves, pedestrians hurrying along.

And if I so longed for you as
to make the original millennial blush go away,
us back to our pets, things we had
to learn at school,
I’d be ashamed of my distance
from you, for being indispensable
at times and cures –
just getting the right thing right, for once.

After finishing everything up
I pay a formal call to the broker.
Sherry is drunk
and it will soon be time to think of the next set of circumstances.
Oh hell everything is that way,
this way, that way, twisted in the sun
of endurance –
the back way in then,
the assertion of formality without
a celebration next time.
That’s all any of us gets,
why I am happy with you, alone, just us.

-- John Ashbery

Thursday, March 15, 2007

472 Clipper Street San Francisco 1976



I come from a rich family of grief, criers & sexual & emotional failure.
There isn't a better lover on the block: sexually dynamite, his moustache.
One evening at home we three roomates watched midnight t.v.
This was San Francisco, 1976. Memory was very real and present.
Every year after 1977, in August, on the 19th we would celebrate Brad.
When the telephone rang you never knew what would be the next catastrophe.

Men, women, boys & girls; puppy dogs kittens and cats loved this catastrophe.
Of the three of us, Sally was perhaps the only one who was not a failure.
Geof would often remind himself that love had everything to do about Brad.
He was involved: involved with the sacred geometry of Brad's moustache.
Roxie Music on the turntable. Failure, happiness, harmony were not present
In our lives. We struggled to remember we had purpose: a role in a movie or on t.v.

"I don't care what you want, I want you out of the house" screams the t.v.
"We've a lesson to learn". We've a few good crys before real catastrophe
hits us with the truth: Brad wasn't who he said he was. He was never present
long enough to share even the simplest of moments. a real Failure
a jerk, a blockhead a fuckin angel dust direlect with a brunette smile & moustache.

we went on loving him, loving him for years loving him loving Brad.

bryan ferry has the voice of a magician of a saint of a god said Brad.
living on Clipper Street in 1976 and 1977 was like being in a show on t.v.
it isn't so much remembering the wetness of his tongue and nibbling his moustache
as it is trying to imagine all the others eating away at him: shadowy catastrophes
lurking in the near future: dead bodies, dust, muggings, & the great failure
of love and loving. gnawing away at my memories today in the present.

Sally escaped intact. When the stabilizing element was no longer present
the entire Jules & Jim lifestyle in reverse crumbled. prevented from loving Brad
by the memories of having known him: does the past always come off as a failure?
Single-minded. careless. giddy and hermetic: that's the kind of t.v.
I'd like to see. Brad in some starring role of Love in the Age of Catastrophe.
Sally collaging photographs and scanning images of brunette moustaches.

I pretend to my memories. Stay home. Grow my hair long. gray moustache.
Cocteau's beauty & the beast continues to speak in the present.
there is no better lover than justice. what better lover be catastrophe
just to see you still with long stories to tell all written with Brad.
t.v.
failure.

the impossibility of words. the pleasure to be rich with failure.
deadbeats poets artists and singers. moustache.
smiles and leaves me to me. his favorite catastrophe.
t.v.

-- Jeff Wietor
(thanks Michael Kretz for the restoration & Brad Bell for starring in the role of a lifetime)

Wednesday, March 14, 2007

Ukase



And as you were indulging in the thesaurus,
or, more precisely, being indulged,
the word-rabbits came hippity-hopping along.
Soon it was dusk. The weary river passed
to ask you the same song over again; the birds
(who knew it all by now) were silent;
and it was time to mold the analytical
to the time-sensitive. That is,
to say that it had happened and we were
no worse for it. Indeed, the sky
and nearby barns seemed about to chime
as we were getting our stuff together, ready
to leave, as always, though no quite decided
what tributes to accept, if night should bring any.

What a chump! Excuse me . . .
It is to the wind and the wildflowers I address these
afterthoughts, if they can be dignified
as such. And I digress, too,
in the gloaming where all can be finessed
as we are incurably, undeniably aging,
only I can't tell what that feels like --
It's so true! Not when, but if.
But we'll know it before it happens -- we'll
recognize us from the way we look at each other,
not from any urgent movement forward
or anything like that.

-- John Ashbery

Saturday, March 10, 2007

Friday, March 09, 2007

Wednesday, March 07, 2007

Tuesday, March 06, 2007

Saturday, March 03, 2007

Friday, March 02, 2007

Wednesday, February 28, 2007

Duino Elegies - First



Who, if I cried out, would hear me among the angels'
hierarchies? and even if one of them pressed me
suddenly against his heart: I would be consumed
in that overwhelming existence. For beauty is nothing
but the beginning of terror, which we still are just able to endure,
and we are so awed because it serenely disdains
to annihilate us. Every angel is terrifying.

And so I hold myself back and swallow the call-note
of my dark sobbing. Ah, whom can we ever turn to
in our need? Not angels, not humans,
and already the knowing animals are aware
that we are not really at home in
our interpreted world. Perhaps there remains for us
some tree on a hillside, which every day we can take
into our vision; there remains for us yesterday's street
and the loyalty of a habit so much at ease
when it stayed with us that it moved in and never left.

Oh and night: there is night, when a wind full of infinite
space gnaws at our faces. Whom would it not remain for-that
longed-after, mildly disillusioning presence, which the solitary heart
so painfully meets. Is it any less difficult for lovers?
But they keep on using each other to hide their own fate.
Don't you know yet? Fling the emptiness out of your arms
into the spaces we breathe; perhaps the birds
will feel the expanded air with more passionate flying.

Yes - the springtimes needed you. Often a star
was waiting for you to notice it. A wave rolled toward you
out of the distant past, or as you walked
under an open window, a violin
yielded itself to your hearing. All this was mission.
But could you accomplish it? Weren't you always
distracted by expectation, as if every event
announced a beloved? (Where can you find a place
to keep her, with all the huge strange thoughts inside you
going and coming and often staying all night.)
But when you feel longing, sing of women in love;
for their famous passion is still not immortal. Sing
of women abandoned and desolate (you envy them, almost)
who could love so much more purely than those who were
gratified.

Begin again and again the never-attainable praising;
remember: the hero lives on; even his downfall was
merely a pretext for achieving his final birth.
But Nature, spent and exhausted, takes lovers back
into herself, as if there were not enough strength
to create them a second time. Have you imagined
Gaspara Stampa intensely enough so that any girl
deserted by her beloved might be inspired
by that fierce example of soaring, objectless love
and might say to herself, "Perhaps I can be like her"?
Shouldn't this most ancient of sufferings finally grow
more fruitful for us? Isn't it time that we lovingly
freed ourselves from the beloved and, quivering, endured:
as the arrow endures the bowstring's tension, so that
gathered in the snap of release it can be more than
itself. For there is no place where we can remain.

Voices. Voices. Listen, my heart, as only
saints have listened: until the gigantic call lifted them
off the ground; yet they kept on, impossibly,
kneeling and didn't notice at all:
so complete was their listening. Not that you could endure
God's voice -far from it. But listen to the voice of the wind
and the ceaseless message that forms itself out of silence.
It is murmuring toward you now from those who died
young.

Didn't their fate, whenever you stepped into a church
in Naples or Rome, quietly come to address you?
Or high up, some eulogy entrusted you with a mission,
as, last year, on the plaque in Santa Maria Formosa.
What they want of me is that I gently remove the appearance
of injustice about their death - which at times
slightly hinders their souls from proceeding onward.
Of course, it is strange to inhabit the earth no longer,
to give up customs one barely had time to learn,
not to see roses and other promising Things
in terms of a human future; no longer to be
what one was in infinitely anxious hands; to leave
even one's own first name behind, forgetting it
as easily as a child abandons a broken toy.
Strange to no longer desire one's desires. Strange
to see meanings that clung together once, floating away
in every direction. And being dead is hard work
and full of retrieval before one can gradually feel
a trace of eternity. -Though the living are wrong to believe
in the too-sharp distinctions which they themselves have
created.

Angels (they say) don't know whether it is the living
they are moving among, or the dead. The eternal torrent
whirls all ages along in it, through both realms
forever, and their voices are drowned out in its thunderous roar.
In the end, those who were carried off early no longer need us:
they are weaned from earth's sorrows and joys, as gently as children
outgrow the soft breasts of their mothers. But we, who do need
such great mysteries, we for whom grief is so often
the source of our spirit's growth-: could we exist without them?
Is the legend meaningless that tells how, in the lament for Linus,
the daring first notes of song pierced through the barren numbness;
and then in the startled space which a youth as lovely as a god
had suddenly left forever, the Void felt for the first time
that harmony which now enraptures and comforts and helps us.

-- RM Rilke

Friday, February 23, 2007

from A Border Comedy



A cold breeze smelling of seashells and rice
And then of trees arousing me
More than city life as I experience it requires
Is pushing back the curtains by the bed where I’m lying for a little while longer
To dream
That I’m a prisoner.
But I can’t pretend to sleep while writing this.
And if you turn from this to any other didactic poem you will see the contrast
Between adventure in the meditations of a woman and imagination in the speculations of a man,
The one depending on accumulation, the other on loss and gain
Which aren’t the same for everyone, enclosed in different circles
And in different skulls
And most of them guarded
Although things get in or out sometimes—the smell of blankets
Hanging in the dark, for example,
Or the story of the father who punished his daughter for being lazy because he didn’t understand her kind of work—
But those too are ideas.
Ideas contend with stories
And this is more worthy of consideration than the judgements which separate them into “good” and “bad”
Angels.
I know the poet is vain who writes of paradise.
Experiences run together through transitions
Which are long and short at once
And so I watch the long leaves at the narrow window of my cell
And blink.
Perhaps what is most amazing is that with crimes on my conscience
I can still kiss the wall.
My containment
Consists of a series of connections
Sustaining my conviction of having done something
And every act expresses a necessity
To improve.
In over half my dreams a moral dilemma figures.
There is a grazing horse charred in a grassy corral
And a bluejay named ‘Julie’ directing a flotilla of ships through a canal
Or a convocation of logicians in striped shirts watching a boxing match
In a rural gymnasium owned by my grandfather who is sad
And the dilemma emphasizes the parallels
Whose shadows shift
Through the rationalizing ambitions of the story.
My guilt is much like Descartes’ doubt.
No—those doubts were certainties, though achieved through “pain
And other sensations
Which could not have been foreseen”
And serve as bars
Or gates
Or guards of guides.
Signifier and signified.
They are snapping the distance
In a dream with an outward gaze that’s all about a gain
Of metaphor and change of shape
At this “stopping point”
Under the pressure of the senses
Which draw from ‘nature’ and develop reality.
That’s our reason for acting.
Reason is an aid to stories.
It’s the ghost out of the cell,
Reciting what it remembers, ruling nothing out,
Like Clio or Narrator or Anonymous.
But if the flesh of the ghost is no longer under pressure
Then, like a ghost, it’s gone
From its unusual or even downright alien position,
Us,
Of which it is an imitation,
Not knowing where to go,
An aporia,
Which will allow us to go beyond the limits of any one view point
And remain there.
Though it may not seem to follow.
But I’ve gained weight, my own weight
Under my own trusted and selfish senses.
My memory is filled with their impressions
I write when nothing answers
That something appears.
A terrible slaughter occurs.
As Kwame Anthony Appiah says, technology has not yet rendered slashing and hacking obsolete.
A city is a big city or a beautiful city
Or a crowed city
Or a small progressively-governed university city
And so forth.
Intellectual systems, speech in dreams, things that change like grass
Always end in combat
(Definition: action; motivation: lack)
Resulting in expulsion
(Expulsion here assumes the nature of a certain form of justice)
But a lot of things have changed.
An anecdotal story is often a span
Consisting of separate facts
Each tenuously connected to the next.
What we respond to are the attractiveness of the facts
And the view each one provides.
There are even such things as philosophical anecdotes
Going around,
Beautifully feathered and perfectly circling
So as not to diverge even an inch from the truths
Thrown among things
And lost in the woods.
Then along comes a woodcutter wearing blue boots
And carrying a bird in a sack over his shoulder
To justify his claims
To the accuracy of the metaphors of branching and perching
He uses
To describe both story and storyteller
When asked.
Where else can one find
Justice?
The young soldier knocks on the ground and an onion shakes.
The story is never universal
Though it may repeat
And even symbolize, like rocks for good or parts for wobble
And music.
With what does a story begin?
The marvelous is a cold vehicle for ink and paper.
The power of Rosa Luxemburg could not be imposed.
But here’s an ambitious undertaking;
An attempt to account for the Twentieth Century!
Goya’s small unfinished sketch of “Time, Truth, and History”
Was painted two centuries ago at a comparable time,
(1797).
It shows Time with its hourglass bringing naked Truth into the light
While History writes.

-- Lyn Hejinian

Thursday, February 22, 2007

Forwarded



It's coming on six o'clock
again.
The sun rehearses an elaborate
little speech, strictly
pro forma - no, wait -
it's saying something, like
Be glad it's over.
We waited for you.
I loved you,
and these were the consequences:
bright nights, lit sea,
buttered roofs, dandelion breath.
The dream of seeing it all.

Next year let's live in harm's way,
under the big top. Incongruous,
blue will find us, and the sun.

Like the growl of a friendly dog
it backs up, shivers itself
out of here...

"Never heard...anymore."

-- John Ashbery

Saturday, February 17, 2007

More Than Stars in the Heavens Are You to Me



I'm trying to remember what it is
that I can't tell you

I don't know it just comes over me.

I can't tell
I can't tell you
I can't know for a fact
I can't believe
I can't be sure
I can't wait
I can't involve myself
I can't win
I can't know
I can't even decide about making decisions
I can't believe you meant no harm

I had the picture of you suitably framed
When you left you left me with a handful of vanity
and self satisfaction

Modesty prevents me from getting in your way
You forgave me I pardoned you
I think a lot about you but it's mostly ghostly

If you didn't have a name I'd give you a name
something Hebraic, masculine, trembling with meaning.

I don't know you when you pass by
some day I won't be doing this
some day I'll be with you

what is lacking
what is given

my crimson shyness has beautiful eyes

-- Jeff Wietor

Friday, February 16, 2007

Amethystine Valentines



I

make haste slowly sacred fire // ethics of the voice
it's early afternoon // get on with it quickly
how is it possible // to be only one short


II

not eternal: impure pain // happiness: knowledge
what power in consciousness // power to see that
an important question arises here // your own dead body


III

one could say "his swan song" // voice was just one part
language as an echo // form of experience
but I cannot describe // cover over one eye


IV

a story about Indra // and Virochana
coccyx hammer scapula // ilium stirrup
les animaux de la ferme // make a sounding


V

you are bright and witty // anxious groaning blaring
the sound of shofar // who could only echo
called upon to speak // fear of death clinging to life


VI

What does thinking actually involve //utterance
Where does the voice come from // a response to that
thinking is a response // to that mute voice


VII

say yes to great skin // you thought nature said no
change in the winter air // your thoughts your seduction
I don't want to be eclipsed // I must admit that


VIII

how do you picture // a mire of oblivion
I ask him about // spelling out the solution
lines of poetic meter // voice the call the cry


IX

don't object so much // not coming into contact
Pythagoras became the object // of a cult
no matter what he's thinking // voice behind the screen


X

he wore apple blossoms // at the end of the day
February rain storms // everything feels unreal
the other of the Other // nothing going on


XI

they wait they'll have to wait // the crucial question is
see the transformation // verified by women
anti-aging complex // acts deep in skin's surface


XII

the correct and interesting thing // to say is
fire destroys things completely // follow it inside
thinking means speaking // in one's imagination


-- Jeff Wietor

Thursday, February 15, 2007

Boys of Pleasure Island



Hi-diddle-dee-dee
An actor's life for me
A high silk hat and a silver cane
A watch of gold with a diamond chain
Hi-diddle-dee-day
An actor's life is gay
It's great to be a celebrity
An actor's life for me
Hi-diddle-dee-dum
An actor's life is fun
Hi-diddle-dee-dee
An actor's life for me
A wax mustache and a beaver coat
A pony cart and a billy goat
Hi-diddle-dee-dum
An actor's life is fun
You wear your hair in a pompadour
You ride around in a coach and four
You stop and buy out a candy store
An actor's life for me!



Hi diddle dee dee
An actor's life for me
A high silk hat and a silver cane
A watch of gold and a diamond chain
Hi diddle dee dee
You sleep till after two
You promenade a big cigar
You tour the world in a private car
You dine on chicken and caviar
An actor's life for me!

-- Walter Catlett

Friday, February 09, 2007

Litany of the Saints



Just when
it
gets easier
it
gets harder.

Holy Trinity One God

It's not so much
about what you imagine
as about what
you
imagine.

fevered flashbacks when he finally wakes

Lord have mercy on us

conflicted backroads.
backstreet. fannie
hurst. william randolph
hearst:

Christ hear us

stardust
the san francisco
examiner
lummox;
george and phoebe
phoebe
snow;

Lord have mercy on us

show me the way
shoveling sidewalks
backstreets
bareback riders
white ponies

All you Holy Angels and Archangels

soapsud snow
snow in Warhol's hair
white peonies

Pray for us

cactus in the snow
peacock in the snow
snow white
seven dwarves
little big man
man of la mancha
the munchies
the munchkins
the monkeys
Marcel Duchamp
breakfast of champions
champ the wonder dog
wonder woman
two women
all about eve
adam levasseur
keds
billy the kid
billie burke
hoagy carmichael

Pray for us

stardust

Lord have mercy on us

private objects of your vision

Christ hear us

one unknown amongst so many public memories

just around the corner
time passes you by

Lord have mercy on us

1946

Lord save your people

humoresque:
Joan Crawford

Lord save your people

broderick crawford

Lord save your people

roderick hudson
rodney mallet
my dog rags

Pray for us

rock
solid

Pray for us

this vertical city:
town without pity
gene pitney
pitney bowes
major bowes



clara bow
cupid

Christ have mercy on us

song of life:
Life magazine
afterdark
look at that face

Lord have mercy on us

suddenly now I'm rin tin tin

Christ have mercy on us

oscar wilde: a double exposure

Lord have mercy on us

the case of the missing movies

Christ have mercy on us

Taylor Meade

Pray for us

made for each other
be my valentine

show no emotion or personality
it seems to me
it rains when it rains

Lord have mercy on us

God the son

the young physique
star light start bright
the first star I see tonight
blueboy
all boy
drum
drummer
falcon
freshmen
golden boys
his
honcho
in touch
mandate
stars
unzipped

God the Holy Ghost

march 1972
the ballad of billie blue
kaleidoscope
the bitter tears of petra von kant
taking you back
imagine that the other person sees
but does not feel pain

Christ have mercy on us

be true to me I'll love you forever
I said to him he didn't say the same
he didn't mean to be obstinate

God the Father of heaven

end of the road
pages and pages and pages
boarding a train
pages and pages and pages and pages
he said: "the word "I" does not designate a person"
I could neither agree nor disagree
aguirre, the wrath of god

Lord have mercy on us

partly because I loved him
zeffirelli's butt-naked francis
partly because he was wild

Christ hear us

cabaret singing in the shower
mostly because he had nice legs long hair torn too short shorts
chole in the afternoon
soaped up hair slick shiney face ready to go

Lord have mercy on us

the boy with glasses

Pray for us

you and me
a mattress in the living room sunshine

Lord have mercy on us

joyous sound
that certain summer

Christ have mercy on us

leonard cohen singing live
naked and longhaired into the wilderness
the inner eye
deliverance

Pray for us

made for each other
allegro nights acid days
illustrations of howard pyle
you -- whisked away to places beyond time
recanted tears recounted moods

Lord have mercy on us

newly ejected oyster-spawn



joe dallesandro's flotsom hair

Pray for us

misgivings: you
forgivings: me

Pray for us

I'll start with a description of
what 'I see'
but in impersonal form


ziggy stardust

Pray for us

the difference between my being angry and he being angry

Lord hear our prayer

leon russell

Pray for us

le sex shop

Lord have mercy

an ego inhabiting a body to be abolished

Christ have mercy

last tango in paris

Christ have mercy

when are you coming from nowhere

the person who paints his memories

Lord hear our prayer

I am the action of an unspecified subject

-- Jeff Wietor

Wednesday, February 07, 2007

Cherry Trees in Winter



how do I know
I have spoken
to myself in pain:

it's winter yet I can see
cherry trees along
McAllister blossom

is he the person who will paint memory

in bed by dawn
sweat soaked aubade
Vertigo. falling. raining.

because the man in Hollywood who
says he's a Circuit Boy
misspells himself

brutish
unwilling
he's flailing

a circus boy

rain
rain all day
gray

he's ink on canvas: a cityscape
of rain and bottled water
bleeding lines

to make the day longer
he convinces himself
he's blue

a child remembers
before
it says that it does


one glimpse of
what he brings to words
passes by pink

he's falling
he's flailing
he's blossomed

rain wet emptiness
rain soaked weary
frightened cries


the man in Hollywood
who believes he's a Circut Boy
misspelling himself:

a circus boy
a plan in rain
he's fragile

loud rain
standoutish
grow closer looser

I claim you
wake make love
a circus toy

"he neglects that
which goes
without saying"

-- Jeff Wietor

Tuesday, February 06, 2007

Monday, February 05, 2007

Friday, February 02, 2007

Wednesday, January 31, 2007

Tuesday, January 30, 2007

Revival






We looked at drama and with a penetrating gaze forced our way into the inner moving world of its motives—and nonetheless for us it was as if only an allegorical picture passed before us, whose most profound meaning we thought we could almost guess and which we wanted to pull aside, like a curtain, in order to look at the primordial image behind it. The brightest clarity of the image did not satisfy us. For this seemed to hide just as much as it revealed. And while, with its allegorical-like revelation, it seemed to promise to rip aside the veil, to disclose the mysterious background, once again that penetrating light illuminating everything held the eye in its spell and held it from penetrating any more deeply.


.
.
.

Friday, January 26, 2007

Never Mind the Shape, Look at the Color



I haven't been here
I haven't been around
I haven't not been here

somewhere
anywhere
over there

nowhere not possible
hidden from sight
wait for the moonlight

waiting for the moonlight
would be better
but in what direction

about an orange line
a white line
make a general statement

point to the color
and not to the shape
never mind the shape

he's wearing green today
not a jacket
he's thick as a cloud

a diamond painted blue
a ruby painted blue
a frisbee in the garden

I haven't been anywhere
I haven't gone anywhere
I haven't seen you

this life took place
taking place
finding my place

in the world
the shape of things to come
at every turning

a red brick
a gray brick
an ornate roof line

having been here
I've been nowhere
having been longer

seen coming home
wait for moonlight
half a moonlight

I too have a pastness feeling
There is something further about it
what do you call that?

-- jeff wietor

Wednesday, January 17, 2007

Cowboy Hats



Out in the west we wear our hats,
for a lot of different reasons.
Some for work, and some for show,
but mostly we follow the seasons.

Jaunty and low, the brim just so
means he has some pride.
Straw in the summer, felt in the fall,
and he’s sure to catch a bride.

Those Montana boys like to wear ‘em wide,
and the Texans, high and mighty!
But the Colorado pokes have all the style,
And they wear 'em neat and tidy.

We Colorado gals can pick our men
not by his manly size,
not by the fit of his tight blue jeans,
but by the hat he wears over his eyes.

It never fails to fan our tails
when a tall one comes in sight
with his best boots on, his jeans all pressed,
and his hat pulled down, just right.

The man I met never showed his sweat,
his band was gleaming white.
A fancy scarf wrapped ‘round the crown
........with both eyes out of sight.

At the Valentine Dance he wore those pants
that fairly made me shy.
When he slowly looked up, to take me in,
it was to the side - with just one eye.

He winked, I blushed, he tipped his hat.
We danced to the cowboy band.
From that moment on, and for the rest of our lives
he held my heart in his hands.

-- Rusty Calhoun

Friday, January 12, 2007

Thursday, January 11, 2007

In Memory of My Feelings




My quietness has a man in it, he is transparent
and he carries me quietly, like a gondola, through the streets.
He has several likenesses, like stars and years, like numerals.

My quietness has a number of naked selves,
so many pistols I have borrowed to protect myselves
from creatures who too readily recognize my weapons
and have murder in their heart!
though in winter
they are warm as roses, in the desert
taste of chilled anisette.
At times, withdrawn,
I rise into the cool skies
and gaze on at the imponderable world with the simple identification
of my colleagues, the mountains. Manfred climbs to my nape,
speaks, but I do not hear him,
I'm too blue.
An elephant takes up his trumpet,
money flutters from the windows of cries, silk stretching its mirror
across shoulder blades. A gun is "fired."
One of me rushes
to window #13 and one of me raises his whip and one of me
flutters up from the center of the track amidst the pink flamingoes,
and underneath their hooves as they round the last turn my lips
are scarred and brown, brushed by tails, masked in dirt's lust,
definition, open mouths gasping for the cries of the bettors for the lungs
of earth.
So many of my transparencies could not resist the race!
Terror in earth, dried mushrooms, pink feathers, tickets,
a flaking moon drifting across the muddied teeth,
the imperceptible moan of covered breathing,
love of the serpent!
I am underneath its leaves as the hunter crackles and pants
and bursts, as the barrage balloon drifts behind a cloud
and animal death whips out its flashlight,
whistling
and slipping the glove off the trigger hand. The serpent's eyes
redden at sight of those thorny fingernails, he is so smooth!
My transparent selves
flail about like vipers in a pail, writhing and hissing
without panic, with a certain justice of response
and presently the aquiline serpent comes to resemble the Medusa.

-- Frank O'Hara

Wednesday, January 10, 2007

Sea Surface Full of Clouds



I

In that November off Tehuantepec,
The slopping of the sea grew still one night
And in the morning summer hued the deck

And made one think of rosy chocolate
And gilt umbrellas. Paradisal green
Gave suavity to the perplexed machine

Of ocean, which like limpid water lay.
Who, then, in that ambrosial latitude
Out of the light evolved the morning blooms,

Who, then, evolved the sea-blooms from the clouds
Diffusing balm in that Pacific calm?
C’était mon enfant, mon bijou, mon âme.

The sea-clouds whitened far below the calm
And moved, as blooms move, in the swimming green
And in its watery radiance, while the hue

Of heaven in an antique reflection rolled
Round those flotillas. And sometimes the sea
Poured brilliant iris on the glistening blue.

II

In that November off Tehuantepec
The slopping of the sea grew still one night.
At breakfast jelly yellow streaked the deck

And made one think of chop-house chocolate
And sham umbrellas. And a sham-like green
Capped summer-seeming on the tense machine

Of ocean, which in sinister flatness lay.
Who, then, beheld the rising of the clouds
That strode submerged in that malevolent sheen,

Who saw the mortal massives of the blooms
Of water moving on the water-floor?
C’était mon frère du ciel, ma vie, mon or.

The gongs rang loudly as the windy booms
Hoo-hooed it in the darkened ocean-blooms.
The gongs grew still. And then blue heaven spread

Its crystalline pendentives on the sea
And the macabre of the water-glooms
In an enormous undulation fled.

III

In that November off Tehuantepec,
The slopping of the sea grew still one night
And a pale silver patterned on the deck

And made one think of porcelain chocolate
And pied umbrellas. An uncertain green,
Piano-polished, held the tranced machine

Of ocean, as a prelude holds and holds,
Who, seeing silver petals of white blooms
Unfolding in the water, feeling sure

Of the milk within the saltiest spurge, heard, then,
The sea unfolding in the sunken clouds?
Oh! C’était mon extase et mon amour.

So deeply sunken were they that the shrouds,
The shrouding shadows, made the petals black
Until the rolling heaven made them blue,

A blue beyond the rainy hyacinth,
And smiting the crevasses of the leaves
Deluged the ocean with a sapphire blue.

IV

In that November off Tehuantepec
The night-long slopping of the sea grew still.
A mallow morning dozed upon the deck

And made one think of musky chocolate
And frail umbrellas. A too-fluent green
Suggested malice in the dry machine

Of ocean, pondering dank stratagem.
Who then beheld the figures of the clouds
Like blooms secluded in the thick marine?

Like blooms? Like damasks that were shaken off
From the loosed girdles in the spangling must.
C’était ma foi, la nonchalance divine.

The nakedness would rise and suddenly turn
Salt masks of beard and mouths of bellowing,
Would—But more suddenly the heaven rolled

Its bluest sea-clouds in the thinking green,
And the nakedness became the broadest blooms,
Mile-mallows that a mallow sun cajoled.

V

In that November off Tehuantepec
Night stilled the slopping of the sea.
The day came, bowing and voluble, upon the deck,

Good clown… One thought of Chinese chocolate
And large umbrellas. And a motley green
Followed the drift of the obese machine

Of ocean, perfected in indolence.
What pistache one, ingenious and droll,
Beheld the sovereign clouds as jugglery

And the sea as turquoise-turbaned Sambo, neat
At tossing saucers—cloudy-conjuring sea?
C’était mon esprit bâtard, l’ignominie.

The sovereign clouds came clustering. The conch
Of loyal conjuration trumped. The wind
Of green blooms turning crisped the motley hue

To clearing opalescence. Then the sea
And heaven rolled as one and from the two
Came fresh transfigurings of freshest blue.

-- Wallace Stevens

Tuesday, January 09, 2007

Lateral Disregard



after an observation by Kenneth Koch

Shall I compare thee to a summer’s bay
an orange cliff rising from its waters to the east
to the west a slope of reddish earth whorled with gray olives
between them an arc of rock, then sand, then little port
four houses of blue-washed rubble and red-tile roofs
and below them under broad-leaved vines a terrace with tables and benches
from which at noon the smoke of golden bream grilling
brings a gust of longing to the wayfarer as he looks over the bay
from a bluff down which a dusty zigzag path
leads to a straggly cluster of fig trees near the water’s edge
(their first fruits now ripened in July sun)
to whose left on flat rocks ample nets have been drying
to whose right on the sand — green, yellow, green, red — four fishing craft
rest through the languid hours of the blue day
only at night taking to the clear dark waters
through which their bow-lights beckon curious fish
for nets to scoop from their nimble careers
to be shaken over the decks in slithering heaps
and at dawn the boats coast home between brighter blues
the glory of the world suffuses earth stone and leaf
land and sea reaffirm their distinction
in an exchange so gentle that the wayfarer briefly believes
he has been suspended lastingly in newborn light
the happiness and rightness of the morning
no longer dreaming plowing on through thick mud?

-- Harry Mathews

-- Music: Sigur Ros

Monday, January 08, 2007

Gimme the Mermaid

Iowa



The plains of Iowa dreamed, or seemed to dream,
the prairie dogs erect above their dens,
the corn unripening by the local Gulf.
We slept through May in the landlady's single bed,
like two wives -- creaky, uncomfortable as sin,
the eagerness of sin a sin itself.
Airless at dawn, at dusk a tinderbox,
your shoebox apartment shared the slanting roof.
The alley lay in moonlight's palest talc.
One night a shout -- a file of naked freshmen
streamed away, white asses hot as dimes,
onward into forgetfulness. Youth, ah youth.
We slept, and woke, and slept the day away,
careless as pigeons with their broken quills.

-- William Logan

Thursday, January 04, 2007

A Shrug of the Shoulders



We generally give to our ideas about the unknown the color of our notions about what we do know: If we call death a sleep it's because it has the appearance of sleep; if we call death a new life, it's because it seems different from life. We build our beliefs and hopes out of these small misunderstandings with reality and live off husks of bread we call cakes, the way poor children play at being happy.

But that's how all life is; at least that's how the particular way of life generally known as civilization is. Civilization consists in giving an innapropriate name to something and then dreaming what results from that. And in fact the false name and the true dream do create a new reality. The object really does become other, because we have made it so. We manufacture realities. We use the raw materials we always used but the form lent it by art effectively prevents it from remaining the same. A table made out of pinewood is a pinetree but it is also a table. We sit down at the table not at the pinetree. ...

-- Fernando Pessoa

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