Archive for the ‘Not a Poet’ Category

A Belated Happy One

February 15, 2013

Valentine by Carol Ann Duffy

Not a red rose or a satin heart.

I give you an onion.

It is a moon wrapped in brown paper.

It promises light

like the careful undressing of love.

 

Here.

It will blind you with tears

like a lover.

It will make your reflection

a wobbling photo of grief.

 

I am trying to be truthful.

 

Not a cute card or a kissogram.

 

I give you an onion.

Its fierce kiss will stay on your lips,

possessive and faithful

as we are,

for as long as we are.

 

Take it.

Its platinum loops shrink to a wedding-ring,

if you like.

 

Lethal.

Its scent will cling to your fingers,

cling to your knife.

Anne Sexton and Judaism

February 13, 2013

While Sexton wasn’t exactly a full-on philosemite, she did find her friend and collaborator Maxine Kumin’s chosenness fascinating.  Below is a poem that Anne wrote to Maxine in which she relates some of her envy:

My Friend, My Friend

Who will forgive me for the things I do?

With no special legend of God to refer to,

With my calm white pedigree, my yankee kin,

I think it would be better to be a Jew.

I forgive you for what you did not do.

I am impossibly quilty. Unlike you,

My Friend, I can not blame my origin

With no special legend or God to refer to.

They wear The Crucifix as they are meant to do.

Why do their little crosses trouble you?

The effigies that I have made are genuine,

(I think it would be better to be a Jew).

Watching my mother slowly die I knew

My first release. I wish some ancient bugaboo

Followed me. But my sin is always my sin.

With no special legend or God to refer to.

Who will forgive me for the things I do?

To have your reasonable hurt to belong to

Might ease my trouble like liquor or aspirin.

I think it would be better to be a Jew.

And if I lie, I lie because I love you,

Because I am bothered by the things I do,

Because your hurt invades my calm white skin:

With no special legend or God to refer to,

I think it would be better to be a Jew.

Kumin wrote a rather long response, difficult to find online (though I managed to do so) that some day I will post here.  Interesting to note that Sexton friend and depressive rival Sylvia Plath, who has gotten tons of print attention this week because of the anniversary of the publication of The Bell Jar, was also somewhat obsessed with Jewishness (references to Nazism are peppered throughout Ariel) but I would argue in a different way than Sexton was.  Sexton saw Kumin’s status as a Jew a kind of get-out-of-jail-free card in that Kumin could appeal to the special G-d that chose her when things went awry; Plath believed that by developing her own masochistic war on herself, not devoid of glory, was a type of personal appropriation of the relationship between Jews and Nazis.  In other words, she waged her own mini-Holocaust on herself, playing the role of brutal SS agent and of helpless Jewish victim.

HAPPY TUESDAYS!

I Miss It, When It’s Cold

February 5, 2013

where we are (for edward field)

i envy those

who live in two places:

new york, say, and london;

wales and spain;

l.a. and paris;

hawaii and switzerland.

there is always the anticipation

of the change, the chance that what is wrong

is the result of where you are. i have

always loved both the freshness of

arriving and the relief of leaving. with

two homes every move would be a homecoming.

i am not even considering the weather, hot

or cold, dry or wet: i am talking about hope.

 

~ Gerald Locklin

Insomnia/Despair

January 29, 2013

“Sexton adored being adored, but the trip left a slightly sour taste in her mouth, which ardent testimonials did not dissolve.  She had been in pain; she had been more put out by bad press than she liked to show; she felt ‘humbled’ by the atmosphere of seriousness in which many of the festival poets worked; and she had been drunk a little too often.  Her dejection spilled over into a letter she wrote to a young admirer shortly after returning, scolding her for being so needy of praise.  ‘[I am] full of self-doubts at this time, having returned from England & hearing more poets who write far better than I.  I do not write to them and ask them to tell me that someday I will be good.  It is something that you do alone –– all the way alone.”

~ Diane Middlebrook, Anne Sexton: A Biography

Comment Section

January 3, 2013

I know it’s cowardly, but I’m afraid of the comments section online when I write things, so even though I submitted my piece to The New Yorker almost a month ago, I just looked right now at the comments.  They were all benign, except for one, which was hilarious (edited for clarity):

I’m Waiting For the Moshiach

What if Lou Reed turned Frum? He is Jewish afterall:

Hey Jew boy what you doing uptown?

come here to chase all those shiksa’s around

Oh pardon sir that’s farthest from my mind

I am just waiting for the Moishach friend of mine

I’m waitin for the Messiah

Here he comes all dressed in black

Long frock coat and a fur trimmed hat

He’s never early

He’s always late

One thing you learn is that you just gonna have to wait

I’m waitin for the Moshiach

***

GET ON THIS, MOSHIACH OI!

UGH

December 30, 2012

Just had some disappointing news about wedge heels.  In light of it, I’m off to wear black, read, and sulk for a while, a la Audrey.

I think people like to post this picture and pretend it enhances Hepburn's aura of perfection –– "she reads!  she's smart!" –– but if you look closely, you'll see she's just perusing a script.

I think people like to post this picture and pretend it enhances Hepburn’s aura of perfection –– “she reads! she’s smart!” –– but if you look closely, you’ll see she’s just perusing a script.

Predictable

December 16, 2012

… but what else is there to think of, this rainy Sunday?

A Refusal to Mourn the Death, by Fire, of a Child in London

Never until the mankind making

Bird beast and flower

Fathering and all humbling darkness

Tells with silence the last light breaking

And the still hour

Is come of the sea tumbling in harness

And I must enter again the round

Zion of the water bead

And the synagogue of the ear of corn

Shall I let pray the shadow of a sound

Or sow my salt seed

In the least valley of sackcloth to mourn

The majesty and burning of the child’s death.

I shall not murder

The mankind of her going with a grave truth

Nor blaspheme down the stations of the breath

With any further

Elegy of innocence and youth.

Deep with the first dead lies London’s daughter,

Robed in the long friends,

The grains beyond age, the dark veins of her mother,

Secret by the unmourning water

Of the riding Thames.

After the first death, there is no other.

— Dylan Thomas

An Old Letter

December 9, 2012

The impetus for writing this letter was reading somewhere the Marina made her protegees do grueling tasks such as “separate sesame seeds from rice.”  The activity sounding cathartic to me, and I immediately wanted in.  Marina never got back to me, but I still hold out hope that five years from now, as I’m simultaneously cradling my new baby and washing dishes and cursing the horrors of domesticity, I will hear my phone beep and see that an email has come in from this address, and all it will say is, “It’s time.”  When it happens, I’ll be ready.  (Some of the writing below is sloppy –– I was oh-so-young eight months ago –– but I still like my performance art ideas!)

To: Marina Abramovic

Subject: No Subject

Dear Ms. Abramovic,

I suppose it sounds trite to say I’m a huge fan, I deeply admire your work, etc. etc., but then again, just because something is a cliche doesn’t mean it is false.  But that sounds trite, too.  So, just know all this, as you read on…

My friend (I hope she would not object to that label) JT gave me your email after I inquired about your effort to start a performance art school-cum-performance space in Hudson, New York, in the next year/year and a half or so.  It was unclear from the pieces I read whether this space was intended to be used mostly for teaching/practicing or mostly for performing, but if there will be workshops or classes that occur there, I wanted to put myself high on the wait list for attendance (I’m sure there’s a wait list already.)  Writer is my vocation and visual art my avocation, and I have been slowly coming to terms, recently, with my desire to explore performance art.  My writing has always nudged up against the boundaries of performance –– it is as directly engaging as it can be, attempts to actively change thought patterns in both me and the reader, and tries in ways to mirror things as they are occurring in me in the present.  Recently I began to feverishly write poems that describe various performance pieces of which I have conceived.  I have two fully formed in my mind, and those will meet your requirement of being at least six hours.  I’m happy to outline them (on second thought, I may only have one that’s solid enough) if you want more information.  Okay, here goes: I would like to, on stage, preferably in a grand concert space, retype famous classics of literature (think War and Peace) without respite.  The urge to do this –– and it does feel like an urge, something incessant and bodily  –– comes from my love of the sound of typing, and the feeling that the keyboard is the only instrument I play (I type very quickly, and sometimes feel like I reach a kind of transient, autistic state while doing so.)  I have a ridiculous fantasy of a world tour –– me, rewriting the longest tomes in the world’s most beautiful concert halls like the Sydney Opera House or the Teatro Colon in Buenos Aires, stumbling off hours, days, weeks later and collapsing, exhausted despite not having moved much.  (How long do you imagine it would take to retype, for example, Infinite Jest or Anna Karenina?)  All performances –– hours and hours of tap-tap-tap –– available for purchase afterwards on iTunes.

The other ideas I have at the moment are less performance art and more performative public works; for example, I want to send a crew of people out into the subway stations to hand out copies of Ernest Becker’s The Denial of Death a la Jehovah’s Witnesses or Messianic Jews.  I do think it would be very helpful for everyone to think, at least once a day, that he/she will die.

But I can always come up with new ideas.

Perhaps naivete, or the lack of self-awareness that this blind email speaks to, will make me seem a viable candidate for such study.  If you would keep me in mind, I would be so grateful.

Best,

ID

Wee Poem

November 27, 2012

Happy Tuesday!

 

The Lunar Waif

 

The moon hasn’t eaten enough today

She’s a sliver in the sky

She reaches her wan wrist towards the poets and says

“Not tonight, boys.”

Meeting of the HPAS

November 16, 2012

Last night the Harold Pinter Appreciation Society attended the aptly-titled A Celebration of Harold Pinter.  This one-man show focused on the poetic works of Pinter and was warmly and engagingly performed by classically-trained British thespian Julian Sands.  While it’s certainly a less thrilling theatrical experience than actually watching a Pinter play, there were some gems of verse that Sands read, including the below:

 

Message

Jill. Fred phoned. He can’t make tonight.

He said he’d call again, as soon as poss.

I said (on your behalf) OK, no sweat.

He said to tell you he was fine,

Only the crap, he said, you know, it sticks,

The crap you have to fight.

You’re sometimes nothing but a walking shithouse.

I was well acquainted with the pong myself,

I told him, and I counseled calm.

Don’t let the fuckers get you down,

Take the lid off the kettle a couple of minutes,

Go on the town, burn someone to death,

Find another tart, giver her some hammer,

Live while you’re young, until it palls,

Kick the first blind man you meet in the balls.

Anyway he’ll call again.

I’ll be back in time for tea.

Your loving mother.