Archive for the ‘Of Poem’ Category

Entry 72 — 3 Poem Poems

Tuesday, January 12th, 2010

Among the Poem Poems not yet in a chap book that I am withholding from my upcoming chapbook are the following three:

.

.

.    The Age of Vendler
.
.    Sometimes,
.    frustrated by a bouldering
.    of some sky he was trying to daisle
.    a fresh pulse through,
.    Poem envied the traipses

.     of never fully-specified ladymoods
.     that monopoliszed the highest praise
.     of the tenured
.     and regretted the balls
.     that kept him mythodically direct,
.     technically venturesome.
.     and socio-economically marginal–
.     even as he knew
.     in his heart of hearts
.     how trivial the appreciation of the academy was
.      compared to where he went,. however ineptly.
.
.
.     On the Importance of Getting Published
.
.     To ask if you should write poetry
.     even if you cannot get published
.     struck Poem at first like asking
.     if you should get laid
.     even if you cannot get it
.     on tv.
.
.     Then he saw that poetry
.     as donation sans recipient
.     is hardly comparable to two-party sex.
.
.     But so what? Pumping jizz
.     into one’s own kleenex
.     is still better than no sex at all,
.     or getting published
.     even if you can’t write poetry.
.
.
.              Poem’s Trudge
.
.                     Pouhm trud
.                     ged through yet another of his att
.                                        empts to regrammar something into p
.                oetry, in this case a phoneline 3 or 4
.                             sprows had haikued above h
.     im & the splanch of worn twilight behind it,
.                     getting nothing but the standard pre-cerebral
.                                              sprout of “meaningfulness’ all
.                                                   the fash
.                                   ionable poets of the time
.                            were getting big money in grants for, the disgstd
.          down yet lower when his ineffectuousness
.                itself sprang an epipha
.                                                             ny.
.

I’m keeping them out of the collection because they are about Poem as a poet, which I consider confusing.  If I get enough of them, I published them in a collection called, Poem as a Poet.    I may have five or six of them.  I t doesn’t looke like I’ll ever have the twelve or more I’d want for a collection.


Entry 66 — “When Poem’s Cat Died”

Wednesday, January 6th, 2010

.              When Poem’s Cat Died
.
.              Poem,  generally too good-natured
.              ever to think of accusing God
.              of existing,
.              snapped when his cat died,
.              wondering how many points God
.              had given Himself for letting that happen–
.              just one or two, because
.              she was, after all, only a cat?  Or
.              a full ten, because she was Poem’s cat?”
.

Entry 65 — The First Poem Poem

Tuesday, January 5th, 2010

From #731 the introductory poem to my series of Poem poems:

.             His Origin

.             He was just fragmentary echoings
.             of Stevens, Roethke, Hughes
.             some misslept vagrant thought one day set racketing
.             through Crazy Jane’s untrellised ardors,
.             shedding feathers and farting
.             as he faltered into words princed
.             eventually, with occasional fingers,
.             genitals, and voice struggling always
.             to light up
.             with silence.

Entry 38 — “Poem Ventures North-South”

Wednesday, December 9th, 2009

The following is a revision I did over the past two days of a poem from  entry 741 that for some reason got mixed in with the earlier blog entries I’ve been revisiting:

Poem Ventures North-South

One morning, Poem set out for the north-south.
Never having gone precisely there before, he hoped
the change would shake him out
of the null zone he’d been too long in.
The sun was halfway to noon,
when he rippled into a locked gate,
“Prose Poem,” engraved on it.

Straight through the gate, Poem strode, that element of him that
was fictional not for the first time being of advantage. A few dazed
steps later he realized he’d come to a corner of his final telephone
call to his father–the one Poochie, the little rubber dog his father
had given him one birthday, daily merged more completely with.

From the Shell station across the street, now long-abandoned, rose
some aria from La Boheme. Many slow clotheslines later in China the aria sank in a suburban Chinatown alley’s moonlit Drunkenness.
Poem would surely have left at that point had one of the gas pumps
not unworried a carton of Camels (his father’s brand) into something resembling cherry-blossoms. From them, the aria from La Boheme re-emerged. The shadow it cast resembled Roman legions–from when
Rome was still a republic.

Is it any good? Who knows?

Entry 16 — “Poem Encounters a Nigger Man”

Tuesday, November 17th, 2009

Is this poem racist?

.

.                               Poem Encounters a Nigger Man

.                               One day when Poem was aimlessly making
.                               his way through yet another text, he
.                               was suddenly accosted by
.                               a drunken nigger man, almost too indignant
.                               to be able to stand, who blamed him
.                               for the presence in the text of
.                               the phrase, “nigger man.”  Wanting to be alone
.                               with his thoughts, Poem merely growled that
.                               he had nothing to do with what was in
.                               the text, which wasn’t exactly true since
.                               Poem was clearly an alter ego
.                               of the text’s author.

.                                                                          When he
.                               tried to continue on his way, though,
.                               the nigger man persisted, blocking his attempts
.                               to escape him until Poem finally
.                               exploded, telling the Nigger man that the phrase
.                               belonged in the text, the text obviously
.                               being about the type of black man the phrase
.                               stood for and he exemplified.  Poem went on
.                               to lecture the nigger man about the stupidity
.                               of caring about the names people called you,
.                               then made a quick move to one side that freed
.                               him of the nigger man before the latter could
.                               start in on all the innocent African Americans
.                               that had been lynched.
.
.                                                                          The nigger man didn’t
.                               mind.  He had more whiskey, and it wasn’t
.                               long before the daylight, under
.                               its, and his harmonica’s influence,
.                               began no longer to seem
.                               nothing more than a day’s proper wage
.                               but something wonderful the next
.                               roll of the dice had a good chance of winning.

Entry 12 — Line Breaks

Friday, November 13th, 2009

I may know as much as anyone in the world about the nature and function of lines breaks.  That’s not a major boast: there isn’t much to know about them, and understanding them doesn’t take research or study, just a little commonsensical thought.  I’m making them the subject of this entry because of a thread at New-Poetry I got involved with.  A few of the contributors to the thread seemed to me to be having trouble fully understanding the device.  Anyway, I’ve decided to write  a minor primer about it, bringing back my recent Poem poem to illustrate its simplest functions:

.                                  Another Failure

.                                  For half the night
.                                  Poem struggled mightily
.                                  to sing himself a sleep
.                                  that melted understandings into him
.                                  as intricately deepening as April rain
.                                  dislodging a woodland’s smallest wisdoms;
.                                  but nowhere in it did
.                                  anything extend beyond
.                                  its decimal point.

I will now repeat it, with a comment in purple under each of its lines:

.                                  Another Failure

.                                  For half the night

The poem’s first line-break notifies the reader that he’s in a poem, as does every poem’s first line-break; slows his read to force him to pay at least a little more attention to what’s going on in the language of the poem and what its expressing, particularly its imagery, as do all line-breaks; with the corroboration of the poem’s other lines, if the reader glances at them, informs him of the poem’s pace, in this case comparatively quick; gives his mind a resting place from the possibly difficult material of the poem (again, like all line-breaks); presents a hint (possibly misleading) of the kind of poem the will follow as to style, subject matter, rhythmic nature, technique, point-of-view, and the like, in this particular case, mainly suggesting quotidianness via a commonplace diction, and the representation of a highly standard image; and, finally, setting up a rhyme by leaving “night” in an emphazied location of the poem.

.                                  Poem struggled mightily

The poem’s second line-break does most of the things its first one did but also pretty much establishes the poem as free-verse, and puts “might” near its end to rhyme with the final word of the previous line.

.                                  to sing himself a sleep

The next line-break does little new, but the extra time it gives the reader may help prevent his reading “a sleep,” a key contributor to whatever value the poem has, too hurriedly.

.                                  that melted understandings into him

Coming a little late compared to the other line-breaks, this one is responsible for giving its line a feel of magnitude, importance; I believe it will be welcomed for the pause it provides the reader to think about just what its line and the preceding one mean

.                                  as intricately deepening as April rain

The next line-break lets its line extend even more.

.                                  dislodging a woodland’s smallest wisdoms;

Then a line-break halting its line somewhat sooner than the previous line-breaks halted theirs–perhaps indicating the we’ve reached the poem’s peak and are now quieting.

.                                  but nowhere in it did

Another short line, now, stopped before it says anything–stopped also on a word a more standard line-break would not have, to “merely’ keep the reader from being completely on balance.

.                                  anything extend beyond

The penultimate line-break does little more than prevent the reader from too quickly learning where the sentence he’s reading is going.

.                                  its decimal point.

The poem’s final line-break provides it with a sharp short clear end.

Any questions?

Additional comments: when I wrote this poem, I paid little attention to the line-breaks I was making–they came pretty much naturally.  I’m sure that’s the way it wis with most composers of free verse.  The “did” I thought about before going with, though, and I think I came back to one pair of lines that sounded wrong, and change the line-break between them.

A reader, too, if experienced, ought not pay much conscious attention to the lineation of a work of free verse–but, if effective, it will have a great deal of influence on his understanding of the poem.

One last comment: in the right hands–those of E. E. Cummings, for example–line breaks can be employed to do much more of value in a poem than they do in “Another Failure.”

.

.

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Entry 6 — “Another Failure” (A Poem Poem)

Saturday, November 7th, 2009

I’m not up to returning to my “Nature of Visual Poetry,” and may not be for a while. So today only this poem about my continuing persona, Poem:

Another Failure

For half the night
Poem struggled mightily
to sing himself a sleep
that melted understandings into him
as intricately deepening as April rain
dislodging a woodland’s smallest wisdoms;
but all that came of it
was decimalless

It is now 13 November 2009. Since writing the above, I’ve had second thoughts about the final line. It now strikes me as too subtle. So I’ve come up with the following revision:

Another Failure

For half the night
Poem struggled mightily
to sing himself a sleep
that melted understandings into him
as intricately deepening as April rain
dislodging a woodland’s smallest wisdoms;
but nowhere in it did
anything extend beyond
its decimal point.