MY LOVE AFFAIR WITH POETRY

jan van munster

Two years of reading difficult writing for an average high school graduate was my preparation for college. Out of the Navy, into school, I liked the English class the best, introducing poetry that was awfully interesting to a kid with no experience in poetry but Allen Ginsberg and Lawrence Ferlinghetti. Turns out, I'd recommend them for introductions. They speak in our language. I found a paperback of Robinson Jeffers' Selected Poems in the first week of school. Back in my one-room attic apartment, after homework, I thought I'd read a few of the poems before sleep. No sleep happened. I could not stop reading, read them all and read them all again and again. All night long I lay in the bed, head propped on pillow, reading his poems. They spoke to me. I was in awe of what he was doing with the form. My knowledge of poetry was negligible beyond a few of the Beats. Jeffers was like the next step. I have beside me a small Modern Library, 1935 edition, of The Roan Stallion, Tamar And Other Poems, by Jeffers. Probably found it someplace for fifty cents. Just now read one of his poems selected randomly, Pelicans. Reading just one of his poems after not reading him in a very long time, I see the original attraction to his writing. I like the connections he makes and what he sees in what he's looking at. Thus began a lifetime affection for poetry. 

jan van munster

Several years of reading Twentieth Century American poetry, and poetry from Europe and Asia, I came to a place that when I want to read a poem or a few, I go to an anthology of Chinese poetry, Sunflower Splendor, from beginning to 1975, the date of publication, several translators.  This is my desert island book. Chinese poetry satisfies me like no other. My favorites were written over a millennium ago. Tu Fu lived from 712-770. Han Yu lived from 768 to 824. Han Yu wrote a long poem I've read many times, Southern Mountains. These are the mountains of southern China, semi-tropical. I'd like to show you the whole poem, though will pick a few lines:

          Winter comes with somber silence,

           Ice and snow sculpting in white jade.

           A new sun lights the summits

           Stretching heights and breadths millions of feet.

I've loved this anthology so much, I bought the hardback edition first, then the paperback edition, to save the hardback for later years and wear out the paperback along the way. 

jan van munster

Sunflower Splendor is such a treasure, I needed a shelf copy and a copy for use. I have four copies of the Stephen Mitchell translation of the Tao Te Ching, different editions. Favorite is the one illustrated with ancient Chinese paintings. And there is John Berryman's book of poems, His Toy, His Dream, His Rest, 1968, I keep near at hand. Sometimes I want to read a Berryman poem, pick it up, read one, savor it and go on. And from that same time, I recall devouring Robert Lowell's book of poems, Notebook 1967-68. It was in the same time as Norman Mailer's Armies Of The Night and Robert Bly's long poem, The Teeth-Mother Naked At Last, a poem of the American war in Vietnam. I'd heard Bly read it in person, bought a cassette tape of him reading it. Have read it again recently in his new and selected poems, Stealing Sugar From The Castle, released last year. Bly is another of the poets I pick up and read one or two and put it down. I read Bly an awful lot in the late Sixties, early Seventies. Haven't read him much at all since around 1980. Found his selected poems published, and like his later poems quite a lot better than the earlier poems. Not throwing off on the early ones, like Light Around The Body, not at all, but saying he's gone beyond in his maturity. 

jan van munster

I've picked up Louise Gluck's book of collected poems, Poems 1962-2012. Gluck I've followed since her first book of poems, Firstborn. I was glad to see her poems together in one volume. It's so thick, it's kind of intimidating, so much to pick from. I don't like to read poetry books front to back, unless it would be Lowell's, Notebook 67-68. I wanted to touch Louise Gluck's book to pick it up and open it. I let it fall open randomly and read the poem it opened to, Lullaby, p 299, from her book, The Wild Iris, a poem called Lullaby. I want to share three of the lines with you:

Twilight, then early evening. Fireflies

in the room, flickering here and there, here and there,

and summer's deep sweetness filling the open window. 

Reading the entire poem took my breath away. Her poems frequently take hold of me in such a way I inhale and exhale when it is finished, thinking, Where did that come from? It is the same feeling when I stand in front of Robert Motherwell's Elegy To The Spanish Republic, or Monet's water lilies. The kind of thing that makes me say to self, This is the real deal, this is art. I'm recalling a show I saw of Jaap Mooy's drawings by felt-tip black marker, every one of them an astonishment, black squiggles on white. Couldn't stop staring them, had to buy a copy of the paperback book of the show in the gift shop. Gluck's poems do for me what Jaap Mooy's simple drawings did, each one awe inspiring. 

jan van munster himself

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THANK YOU FOR THIS DAY

 

raoul dufy

Day 4 of blogathon, the prompt is lists of future artistic goals over the next five years. First thing to mind was McKenzie Wren's opening to Day 2, the chorus from David Bowie's song from the early 1970s, "We've got five years." The other association that popped into mind almost simultaneously was the Soviet Five Year Plans. Through the 1950s and 60s, American propaganda was fixed on evil Communist Russia such that it became reality: Communism = Evil, Five Year Plans are stupid. It's what Communists do. You have to be of a certain age to remember that time, like in my generation you had to be of a certain age to remember the Depression. Nobody bothered to notice what the Soviets were doing was not Communism, but that was neither here nor there. Actuality has no role in propaganda. Calling orange juice ketchup doesn't make it anything but orange juice. This is where a five year plan takes my head. It doesn't mean I agree that five year plans are stupid or Communism is evil, only these are my associations. The language of propaganda. It's not that I mean it really is, only that it's my historical association. It's a bundle of personal and historical associations that makes it an unreality for me to say I want to make the world a better place or I want to spread joy or I want to be an ambassador for good, whatever that is. It doesn't even mean I disagree with people who see the good as something laudable. This is illusion, good is not always "good." Uplifting is not always elevating. I'm getting into splitting hairs territory; it's time to abandon that line of thinking. It leads ultimately to the brain is a universe of atoms floating in spirals through nothingness, which leads to looking out the window at the snowbirds hopping about in the snow the other side of the glass picking up their daily seeds. Caterpillar just now appealed to me for attention, Mao. Took a moment to rub the top of her head and her neck, tell her I love her from the heart. I took the moment to bring my own head back to the world of perception where seeing is believing, leaving off that believing doesn't have much to do with reality, and reality is different from individual to individual. I mean the reality we collectively agree upon, like gravity keeps footprints off the ceiling.

 

raoul dufy

 

My entire childhood was spent in a church where I was told several times a week that I might not be alive tomorrow. Any moment may be my last. It stuck. I've never been able to imagine a future for myself. I've seen too many variables flying about every situation and have lived long enough to see that even Noam Chomsky doesn't know the future. One unforeseeable moment can change everything. Like the assassination of Archduke (?) Franz Ferdinand with an improvised explosive device set Europe into a "World War."  The rings that go out from this one splash in time will continue to the horizon. I have a really strong feeling such an unforeseeable moment is around a nearby corner. 911 was not it, because it was foreseeable and seen coming. "We didn't have any intelligence." Duh. A child raised believing the Truth in the likelihood of not waking up in the morning, plus we might get nuked any day, I've lived with "no hope of tomorrow" as evidence of the importance of living my life today. I've also lived long enough to notice that it aint necessarily so. I woke up a lot of mornings. The last thing I had to say to that argument was to an old preacher's wife, one of the really old-fashioned kind, of which we have many today, a haughty old thing pretending humility, the worst gossip in the church and kept a smokescreen of piety about herself obscuring the inner bitch, the self her husband and kids knew well. She was on the verge of feeble when, going out the church-house door, I assisted her descent of the four steps. She thanked me. I said, "See you next time." She said, "We have no guarantee of that." I thought, Lord have mercy, don't I know it,  and said, "I'll pretend I do, and if I don't it won't matter." She didn't even give my clever young frivolity an harrumph. It was the last time I saw her. She wasn't able to leave home soon after, then hospital and nursing home. She was steeped in a lifetime of old Calvinist, Puritan mind of post-medieval northern Europe and Britain, like her husband and her daddy, believed anything fun was the devil himself, the kind of thinking that pushed me toward atheism. The moment with her on the church-house steps was after my awakening. I don't mean awakening here to mean enlightenment, only the kick-start of awareness. The awakening turned me away from heavy serious thinking to a more light-hearted attitude toward experience. I don't mean Boca Raton Barbie, nor do I mean System Of A Down.

 

raoul dufy

 

In the past I attempted to make some plans, but didn't believe them. In late-Twenties I bought a two-volume set of Proust's Remembrance of Things Past, to save it for old age. It was something I wanted to read in my later years. I have two sets of the two volumes. I've never opened any of them. They are preserved on my bookshelf. In the mid-1980s I discovered Australian writer, Patrick White and read him, one after the other. Came a day I did not want to read everything yet and be done with him. I wanted to save the rest for my later years for something I know I will enjoy to the max. Neither White nor Proust appeal to me now as something I want to read. I want to finish a couple books by Chris Hedges I'd begun at the same time. I want to finish a history of China that calls to me. I want to find a good history of the Persian Empire. I'd also like to find a history of Kazakhstan before it was broken up into the -stans. I have a wonderful history of the Ottoman Empire that I want to read again. I'd like to reread Diana Eck's beautiful book, Banaras City of Light. And there are so many I want to read again. I want to read more poems by John Berryman. I want to finish the four volumes of Andre Gide's Journals. I want to read more in the discourses of Upasni Maharaj. I want to reread some plays by Harold Pinter. I don't have time for Proust. He's too far down the list. There's no way this body will hold out that long. A few days ago I was thinking I want to take Julio Cortazar's novel, 62: A Model Kit, off the shelf, not to read all of it, unless I choose to, but to read a few pages at a time randomly. The novel itself is in 62 sections or chapters to be read in any order the reader chooses. Thought I might read a few, I love his writing, for the joy of reading his sentences. I went to the shelf and took it down. It's nice to see it again. Too many years have gone by without reading him. It may end up in a stack on the floor, but it was a good feeling to touch its cover and flip the pages. I don't dare say I will indeed read in it. Tomorrow I may say tomorrow. And I may take it as soon as I'm finished writing to the reading chair, put on the reading glasses, have a cup of hot chocolate, feet up off the floor, and read for an hour in bliss with sunlight to read by.

 

raoul dufy

 

As you have accurately guessed by now, this mind doesn't do well with goals. I could plan a goal today and next week it will be something that was important a week ago. For appointments I write in black or red on a wall calendar with inch and a half by inch and three quarters rectangles for each number. If an appointment doesn't get written there, it's forgotten. I've never taken to goals, goals being a sort of plan, the carrot on the stick to keep the donkey going. I can't even conceive imagining one goal, certainly not five, and then five more goals for this year, in addition. It makes my psychic bodies explode. Goals are motivated by desire for success. I'm recalling in ninth grade running around the football field track at a tournament chasing the guy running in front of me I had to beat to win. I never liked that feeling, having to beat somebody to win. It didn't feel right then, doesn't feel right now. It's the winning I have no desire for. I don't want to win a lottery because I don't want the trauma of overnight unlimited wealth and every snake on earth having a bead on me. I like my life on Waterfall Road where I have a hard time finding the money every year to pay property taxes you'd laugh at in awe for being so little. I never wanted to climb the ladder of success. Soon after high school I tried to go against that thinking by reading Atlas Shrugged and Think and Growä Rich. It all made me gag. What do I give a shit about a bunch of rich people needing to live underground because they hate everybody else. I'd rather read Jack Kerouac's Dharma Bums. At least reading Dharma Bums made me feel cool. Think and Grow Rich made me feel poor and worthless. I could not give my mind to continuous meditation on money and/or success. Robert Lowell was an uber-successful American poet with plenty of money, his name in perpetuity on his chair in the inner sanctum of American Poetry, and he went *pop* that's it cat shit. It evidently didn't mean all that much to him. John Berryman too. Randall Jarrell jumped in front of a car on the interstate at night. They had caught the carrots on the stick they started out wanting, fame, to be well thought of, and in some cases money. Like, Wow. I don't want to find my life so regrettable I need to bail out and see if I can finish saying Geronimo. I'll just take it a day at a time and play like I'm doing something spiritual.   

 

raoul dufy

 

 

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BOB DYLAN AMERICAN POET

Tis the day before Christmas and all through the house the buzz of the refrigerator motor and the ticking of the battery-run clock on the wall blend with the rain dripping from the edge of the roof into small puddles in the stone pathway. Now the kerosene heater's fan joined the trio to make a quartet of the sounds of my silence. In my head is Bob Dylan singing Soon After Midnight, "A gal named Honey / took my money." This new Dylan stays with me like in the early years his album The Times They Are A Changin. At his beginning was Mr Tambourine Man, Blowin In The Wind, even making Man Of Constant Sorrow his own on his first album, and Like A Rolling Stone. I can't think of any song that could top Like A Rolling Stone as a song beautifully conceived, composed, written and performed. I have a Rolling Stones album with Like A Rolling Stone on it; Jagger made it his own, blues style. In youtube parlance, he owned it. All the way along, Bob Dylan has been a Star to me. But since his last five albums he has gone beyond to the place where I hold an artist like Harold Pinter, Constantin Brancusi, Larry Rivers, Marcel Duchamp, Patrick White, William Faulkner, John Berryman, Mona van Duyn. Dylan is in that level of my respect for artists. Others I read and see with appreciation and sometimes awe, but with these people I am in the presence of something so great, great in immense vastness, that I am in full appreciation of everything by these artists and several others, too many to list, Chinese writer Gao Xingjian among them.

I find when I hear Dylan now, after listening to him all my adult life, I am hearing the poet, who to my way of seeing is a great poet and songwriter in one, the great American poet, the Whitman of his time. Sometimes at the end of the day when I'm done chasing the moon, I'll click the remote to start the Dylan album. It has stayed in the cd player since the day it arrived in the house. I'll sit back, turn out the light and hear every word of the whole album like watching an audio movie. I hesitate to call him the great American poet, because it sounds like nonsense, like The Best, Number One, a Ten, unless it really is the case. Calling Whitman the great American poet sounds right to my ear. I try to think of another for that position and can't do it, unless it might be John Berryman, but that doesn't fit somehow, yet. It may in the future. But it fits Dylan at least as much as it fits Whitman. A new Bob Dylan album is the same, to my mind and ear, as a new book of poetry by Robert Lowell, great poetry. Lowell's book of poems, Notebook 1967-1968, is one I must sit down with again in near future. My first time through it, I read it front to back like a book of prose. It scorched the tips of my hair almost as much as the first reading of Robinson Jeffers' Selected Poems. Yes, Jeffers. Jeffers blows my mind with poetry the same way Bob Dylan does. We have a lot of great American poetry.

 

I have loved about Dylan from the beginning that he is writing poetry in the song form of the day, rock, which Dylan kicked off. Before Dylan went electric it was called rock n roll. From Dylan on, it was rock. His poems are contemporary concerns, everyday life observations, stories both nonfiction and fiction. I imagine a future where the collected Dylan songbook is firmly in the American tradition like the Carter Family songbook for traditional musicians of the mountains. Dylan will go through time with a name up there with Shakespeare, Mozart and Tolstoy. Dylan's integrity has been a model for my own, like Gore Vidal has been in another vein, politically. At the same time I make these lofty exclamations about the artist still known as Bob Dylan, it's totally without concern about his private life, people he's shit along the way, women who divorced him, his junkie son, or even his spiritual life. I don't think if we met there would be any more to it than a handshake and a how-ya-do. That'd be it. What can I say? Yer really cool, man. I'm a nutcase living out in the mountain; he's a multi-millionaire businessman in charge of a tremendous staff of musicians, roadies, managers, recording studio, accountants, gofers, hangers-on and probably in his mind an infinite list of responsibilities and obligations when all he wanted to do was make music. With all that, and it compounded by the major trials that go with tremendous wealth and international fame, he continues to write songs that get better in a stairstep climb, much like Harold Pinter's plays in that way.

It doesn't seem far-fetched at all that Dylan needs the Nobel Prize in poetry, not for his personal sake, but for balance in the universe. Even better is to be with Tolstoy and James Joyce, distinguished for not winning the Nobel. How many poets have people wearing tshirts with their pictures and names on them? How many poets can fill a huge auditorium for a reading? How many poets sell millions of copies of every new book? You say he's a songwriter, not a poet? I say nearly every, if not every, living American poet is influenced by Dylan's writing in varying degrees per individual under 70. He took poetry back to music where it came from. Chinese poetry through the centuries was written to traditional tunes. The French poet Apollinaire wrote his poems to what we call classical music. Read his poem Zone slowly in the flow of Pachelbel's Canon while listening to it. Dylan gave his poetry to a world of people who don't read poetry anymore, except a few here and there, like a few people here and there like to listen to old-time fiddle and banjo music. That's how it is with art forms. Art goes unnoticed in pop culture but by a few unafraid of being regarded retarded by the tube-gawkers. A poet I would call Dylan's equal as poet is Louise Gluck, though she is speaking only to some of the people who read contemporary poetry. I believe I could read different poems of hers as frequently as I listen to Dylan songs. Her poem Averno I could read happily as many times as I've heard Like A Rolling Stone.

walt whitman

 





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