Nearly three weeks and not a peep from me? Wow, I didn’t realize it had been so long since my last update. I’ll get cooking on something new here soon!
Nearly three weeks and not a peep from me? Wow, I didn’t realize it had been so long since my last update. I’ll get cooking on something new here soon!
A porcupine skin,
Stiff with bad tanning,
It must have ended somewhere.
Stuffed horned owl
Pompous
Yellow eyed;
Chuck-wills-widow on a biassed twig
Sooted with dust.
Piles of old magazines,
Drawers of boy’s letters
And the line of love
They must have ended somewhere.
Yesterday’s Tribune is gone
Along with youth
And the canoe that went to pieces on the beach
The year of the big storm
When the hotel burned down
At Seney, Michigan.
~ ~ ~
Ernest Hemingway – poet?!
Our shells clacked on the plates.
My tongue was a filling estuary,
My palate hung with starlight:
As I tasted the salty Pleiades
Orion dipped his foot into the water.
Alive and violated
They lay on their beds of ice:
Bivalves: the split bulb
And philandering sigh of ocean.
Millions of them ripped and shucked and scattered.
We had driven to the coast
Through flowers and limestone
And there we were, toasting friendship,
Laying down a perfect memory
In the cool thatch and crockery.
Over the Alps, packed deep in hay and snow,
The Romans hauled their oysters south to Rome:
I saw damp panniers disgorge
The frond-lipped, brine-stung
Glut of privilege
And was angry that my trust could not repose
In the clear light, like poetry or freedom
Leaning in from the sea. I ate the day
Deliberately, that its tang
Might quicken me all into verb, pure verb.
~ ~ ~
Seamus Heaney, isn’t he just the best? Incredible. From his book Field Work.
Standing at the fruit and veggies stand with Laura waiting for our sweet corn to be shucked and bagged up, I noticed the little cartons of fat, ripe blackberries just waiting for some lucky soul to eat them up. It made me think of one of my absolute favorite poems, “Blackberry Eating” by Galway Kinnell. I also stumbled across another poem just yesterday, this one by Seamus Heaney, called “Blackberry-Picking.” I wondered, there at the fruit stand, what the two poems would look like back-to-back. So, here they are:
Blackberry-Picking
for Philip Hobsbraum
Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just one, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first one and its flesh was sweet
Like thickened wine: summer’s blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red ones inked up and that hunger
Sent us out with milk cans, pea tins, jam pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato drills
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green ones, and on top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard’s.
We hoarded the fresh berries in the byre
But when the bath was filled we found a fur,
A rat-grey fungus glutting on our cache.
The juice was stinking too. Once off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn’t fair
That all the lovely canfuls smelt of rot.
Each year I hoped they’d keep, knew they would not.
~ ~ ~
Blackberry Eating
I love to go out in late September
among fat, overripe, icy, black blackberries
to eat blackberries for breakfast,
the stalks very prickly, a penalty
they earn for knowing the black art
of blackberry-making; and as I stand among them
lifting the stalks to my mouth, the ripest berries
fall almost unbidden to my tongue,
as words sometimes do, certain peculiar words
like strengths or squinched or broughamed,
many-lettered, one-syllabled lumps,
which I squeeze, squinch open, and splurge well
in the silent, startled, icy, black language
of blackberry-eating in late September.
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Remember when you were a kid and down in the dumps about something and one of your parents would get you to cheer up by looking at you and saying, “don’t smile. Dooooooon’t smile. Don’t smile!” and you couldn’t help but smile. That was good parenting right there. It still works on adults, too, which you may not know. Try it on the next sulky person you meet. It even works if you say it to yourself.
The last two posts here have been a bit too Serious-shirt Poesy, with my ranting on Hemingway and yammering about Indo-European root words which probably no one cares about anyway. So to counter act that, I dare you to look at this picture of a Bhutanese woman grinning ear to ear and not smile. Seriously. Don’t smile. Don’t you dare.

Haaaaa you can’t even do it can you. You’re smiling your ass off right now I can see it. That’s OK I guess, I am too. I mean, is this picture not the pure image of happiness?
By the way, this comes from an article in National Geographic Traveler, which is mostly a vehicle for cheesy ads trying to get you to visit random destinations (Dear Nevada: It doesn’t matter how pretty your full-page spread is, I’m not planning a vacation to your state. Silly Nevada.), but does have a nugget of travel advice or intrigue occasionally. The article by Boyd Matson is about Bhutan’s commitment to increasing the country’s “Gross National Happiness.” The article also features this awesome quote, about the tiny nation’s position wedged between two huge superpowers: “If India sneezes or China farts, we get blown away.” Enough said, I think!
Take Hemingway. People always think that the reason he’s easy to read is that he is concise. He isn’t. I hate conciseness — it’s too difficult. The reason Hemingway is easy to read is that he repeats himself all the time, using ‘and’ for padding.
-Tom Wolfe
As to Hemingway, I read him for the first time in the early ‘forties, something about bells, balls and bulls, and loathed it.
-Vladimir Nabokov
I’m pointing out a couple of the common insults flung at Hemingway not to say they’re false – they’re true to a point – but to illustrate what one is up against when one tries to defend Hemingway and make a case for his writing. The author has become so polarizing that American readers have basically split into two camps:
1) Those who agree that Hemingway, along with his ex-pat pals like Fitzgerald, had in the 20s, 30s, and 40s brought about a refreshing change to literature, exchanging the over-wrought and ungainly prose of turn-of-the-century America, Britain, and France (looking at you Proust, Henry James) for a modern, precise, descriptive and quietly poetic style that has carried us forward into the current era of literature.
2) Those who believe as Wolfe and Nabokov do, that Hemingway was basically a chauvinist with a conjunction fetish. Once he was six feet under the Sawtooth Mountains, in 1961, it seems this second group dominated Hemingway discussions; that is, everybody just seems to make fun of him now. Between mocking his declarative style and bemoaning his macho pursuits (“bells, balls, and bulls” as Nabokov so awesomely put it), it seems a Hemingway appreciator – or one totally new to the man’s language – has a hard mountain to climb, and may just prefer to sit it out in the end.
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I’ve been seeing and hearing the word wild a lot lately. Lately in the news we’ve heard the story of Abby Sunderland, the 16-year-old adventurer who attempted to sail solo around the world only to be caught in a storm in the south Indian Ocean and have her chances dashed. Her boat? Wild Eyes. The other day I watched Where the Wild Things Are, which I enjoyed immensely but not in the way I expected to. A while back I had my post on Ted Hughes’ “Wodwo,” wodwo being the wild-man. In music, this summer has brought the excellent album The Wild Hunt by The Tallest Man on Earth, which is itself a reference to an ancient pan-European myth, that of a group of ghost-soldiers on a hunt across the skies and earth. “The Wild Hunt” is also a recently finished story in the Hellboy comic, in which Hellboy is the object of the hunt.
In many retellings of the Wild Hunt myth, the charge is led by Norse/Germanic god Woden, essentially the Zeus of Northern European paganism, and whose name includes the rood wod meaning “violence” or “fury.” It may be just coincidence that the wodwo, or wild-man, and Woden, God of Fury, share the heteronym wod at their root, but then again it may be less then coincidental that ancient words for “wild” and “violence” have similar sounds and origins. By the way, we celebrate this ancient god every midweek, unwittingly, as we wake up, stretch our arms, and greet Woden’s day – Wednesday.
Anyway, with this collection of wild thoughts lurking around in my brain, I thought I’d take out my old Shipley book, The Origins of English Words, and have a look at where wild came from. The Indo-European root of wild is uelt, which means, perhaps a bit obviously, “open field.” OK, makes sense. Our wodwo is the man of the field. In Germanic the word is weald, which often is brought over to English as part of an ancient place-name, or by a fantasy writer looking for a bit of authenticity. To wilder is to lose one’s way, to become lost in the wild; to bewilder is to cause someone to do this. The noun wilder means a wild animal (with der coming from the root deor (deer) or dheu, meaning animal). Thus a wilderness is a place where wild animals live: wild + der + ness, with -ness coming from the same root as gather or together. Shipley also points out that the representative assembly of the Isle of Man in Great Britain is the Tygwald, the assembly of the field.
The word wild has come to have many subtle meanings, which we interpret variously as freedom, spontaneity, violence, revelry, fear, and an untamed nature which we sometimes cherish, sometimes revile. They all point back to this original root word, a simple expression of openness. At certain points in our lives we desire the wild life, salivate for it; we freak out and make for the woods (another word with wild at its root) to commune with our past. At other points we see wildness as something to be shunned, the opposite of civilization which we use to define civilization, as if we have completely forgotten where we came from.
Deep in the forest there is a pond,
small, shaded by a pine so tall
its shadow crosses her surface.
The water is cold and dark and clear,
let it preserve those who lie at the bottom
invisible to us in perpetual dark.
It is our heaven, this bottomless
water that will keep us forever still;
though hands may barely touch they’ll never
wander up an arm in caress or lift a drink;
we’ll lie with the swords and bones
of our fathers on a bed of silt and pine needles.
In our night we’ll wait
for those who walk the green and turning earth,
our brothers, even the birds and deer,
who always float down to us
with alarmed and startled eyes.
~ ~ ~
From his Selected and New Poems. I have been reading Harrison’s memoir Off to the Side; the beauty with which he writes is overshadowed only by the force with which he lives his life.
I’m experimenting with this 8tracks site as a way to put up little mixes of songs I’ve been enjoying lately. So far so good – the site is super easy to use and make mixes with, so I think this could be the start of a great new friendship.