From Bill Knott's Latest Collection Murder/Suicide

which is available for free, as all of his books are, or you can pay a few bucks for a print copy via Lulu. This is the first poem from this edition. I had not read it before, but now I can't stop thinking about it.

1946


The year Noir was born; the year Nazis hid
In monasteries to restore their force;
Peace, but peace that made some things even worse
Than they were pre-war: I was just a kid,

Hard at play, cap pistols, hooky, apples
Filched through a farm fence: then my mother dies,
Killed illegal abortion style by guys
Quoting God, his badboy lies, his bibles.

Pope Vandal burnt the last Complete Sappho
Publicly, my mother was butchered in
A secret site; their results much the same,

So I blame him and him and him and him,
All of them from Adam onwards are men,
Meaning me, meaning the worst thing I know.

Note: In 1073, Pope Gregory VII ordered the public burning of all books containing the poetry of Sappho

from Three Variations, All About Love, by Philip Whalen

I love this poem so much I typed it in.

I.

So much to tell you
Not just that I love
There is so much more
You must hear and see

If I came to explain
It would do no good
Wordlessly nibbling your ear
Burying my face in your belly

All I would tell is you
And love; I must tell
Me, that I am a world
Containing more than love
Holding you and all your other
Lovers wherein you
And I are free from each other
A world that anyone can walk alone
Music, coathangers, the sea
Mountains,ink, trashy novels
Trees, pancakes, The Tokaido Road
The desert--it is yours

Refuse to see me!
Don't answer the door or the telephone
Fly off in a dragon-chariot
Forget you ever knew me

But wherever you are
Is a corner of me, San Juan Letran
Or Montreal,Brooklyn,
Or the Lion Gate

Under my skin at the Potala
Behind my eyes at Benares
Far in my shoulder at Port-au-Prince
Lifted in my palm

Anywhere you must be you
Drugged, drunk or mad
As old,as young, whatever you are
Living or dying the place will be me

And I alone the car that carries you away.

44 Joy Street Boston MA--John Wieners

I guess I have a project now. Take pictures of places where my favorite poets lived. It's fun, and gets me places I wouldn't normally go. Any suggestions?

Charles Olson, 28 Fort Square Gloucester MA

The family took a drive today, and this is where we went: Charles Olson's Gloucester home. The remainder of these pics are mostly the view from the house, or the house itself. You'll see the plaque on the wall in a few of the shots. It was a fun trip.

If you want more Olson photos and ephemera, go here.

Try Some Hayden Carruth on for Size

I know I've posted this before, but it's so damned good it deserves more web-time. Emergency Haying by Hayden Carruth Coming home with the last load I ride standing on the wagon tongue, behind the tractor in hot exhaust, lank with sweat, my arms strung awkwardly along the hayrack, cruciform. Almost 500 bales we've put up this afternoon, Marshall and I. And of course I think of another who hung like this on another cross. My hands are torn by baling twine, not nails, and my side is pierced by my ulcer, not a lance. The acid in my throat is only hayseed. Yet exhaustion and the way my body hangs from twisted shoulders, suspended on two points of pain in the rising monoxide, recall that greater suffering. Well, I change grip and the image fades. It's been an unlucky summer. Heavy rains brought on the grass tremendously, a monster crop, but wet, always wet. Haying was long delayed. Now is our last chance to bring in the winter's feed, and Marshall needs help. We mow, rake, bale, and draw the bales to the barn, these late, half-green, improperly cured bales; some weigh 150 pounds or more, yet must be lugged by the twine across the field, tossed on the load, and then at the barn unloaded on the conveyor and distributed in the loft. I help –  I, the desk-servant, word-worker –  and hold up my end pretty well too; but God, the close of day, how I fall down then. My hands are sore, they flinch when I light my pipe. I think of those who have done slave labor, less able and less well prepared than I. Rose Marie in the rye fields of Saxony, her father in the camps of Moldavia and the Crimea, all clerks and housekeepers herded to the gaunt fields of torture. Hands too bloodied cannot bear even the touch of air, even the touch of love. I have a friend whose grandmother cut cane with a machete and cut and cut, until one day she snicked her hand off and took it and threw it grandly at the sky. Now in September our New England mountains under a clear sky for which we're thankful at last begin to glow, maples, beeches, birches in their first color. I look beyond our famous hayfields to our famous hills, to the notch where the sunset is beginning, then in the other direction, eastward, where a full new-risen moon like a pale medallion hangs in a lavender cloud beyond the barn. My eyes sting with sweat and loveliness. And who is the Christ now, who if not I? It must be so. My strength is legion. And I stand up high on the wagon tongue in my whole bones to say woe to you, watch out you sons of bitches who would drive men and women to the fields where they can only die.

William Dickey, Parliamentary Procedure

H/t to Don Share from Facebook. This is surely a weird one.

February 1971 : Poetry Magazine

Paul Blackburn's Statement of Poetics

What do you think?



From Modern American Poetry:

My poetry may not be typically American, or at least in matter, not
solely so: but I think it does make use of certain techniques which, even
when not invented by American poets, find their particular exponents
there in contemporary letters, from Pound & Doctor Williams, to younger
writers like Paul Carroll or Duncan or Creeley.

         Techniques of juxtaposition.
         Techniques of speech rhythms,
                                                sometimes very intense,
                                                 sometimes developed slowly, as
                                                 one would have
                         conversation with a friend.

Personally, I affirm two things:
                                                           the possibility of warmth & contact
                                                                       in the human relationship :
as juxtaposed against the materialistic pig of a technological world,
where relationships are only   "useful"   i.e., exploited, either
         psychologically or materially.

                                                                 2⁰, the possibility of   s  o  n  g
within that world: which is like saying 'yes' to sunlight.

   On the matter of song:   I believe there must be a return toward the
musical structure of poetry, just as there must be, for certain people at
least, a return to warmth within a relationship.

However impractical that may seem in a society controlled in some of its
most intimate aspects by monstrous, which are totally irresponsible,
corporations, organized for the greatest gain of the most profit: and whose
natural growth, like that of any organism, is toward monopoly,
                     self-support, self-completion, self-
                                                                                           perpetuation,
                     and eventually self-competition and self-destruction.

       In a world that is so quickly losing its individuals, it can only be the
individuals who persist, who can work any change of direction, i.e. control
the machines, or destroy them.

   Machines can be very beneficent as means

                       to a better
                       (materially better)
                                                             life, as either
               democratizing or socializing agents.
But as a means to control for the limited number of men who now own them,

(but the president or general manager of the corporation
really owns nothing but his own salary  (and his power) so that
even the controlling minds of these gigantic corporate machines
are irresponsible. That is, not subject to the effects
                               of their own decisions)

                                                                       (and
                                                                             the personnel, the individuals
are replaceable, all the way to the top. The machine, the organisation, has
itself created the position and will function without the individual, has,
in that sense created the person to fill the 'p o s i t i o n'
                                                                          and its own needs) so that
when, in these upper reaches, the 'organisation' the machine itself
becomes master, it can only mean disaster, global and particular.

      I do not claim that a greater frequency of rhyme than is now made use of
in American poetry will, in time, set things right.

     Only that if a man could sing the poems his poets write

                                     - and could understand them - and if

     the poets would sing something from their guts,    rather than
     the queasy contents of same,
     then that man would stand a better
chance,   of being a whole man,   than
him who stands or sits and says but 'Yes' all day.

Enough man to stand where it is necessary to take a stand.

To give
and man enough to receive, LOVE,      
                                 when he finds it offered.

To take the sun and the goods of the earth, while it lasts.
                                                                                                                    and to
                             fight in whatever way he can
                                 the monstrous machines that try,   and will try, to

                                                 o b l i t e r a t e   him, for

                                                          $1 more.

from The Parallel Voyages, Sun-Gemini Press,1987. Copyright © Paul Blackburn 1954, 1987.