Sunday, February 18, 2018

Boast, You Judges, Rainer Maria Von Rilke

Boast, you judges, not of expendable torture
and that the iron no longer locks on necks.
No heart is exalted, none—because a favorable
spasm of mildness more tenderly disposes you.

What became through time the scaffold pays
back again, like children their toys from an old
former birthday. Into the pure, into the high, into the door-like
open heart, God would step differently,

mercy for real. Would come tremendously and take hold,
shining around, as the godlike are.
More than a wind for the great secured ships.

Not less than the soft, secret allowance,
that wins us silently within
like a quietly-playing child of infinite pairing.


Sonnets to Orpheus, Second Series, Number 9

Rühmt euch, ihr Richtenden, nicht der entbehrlichen Folter 
und dass das Eisen nicht länger an Hälsen sperrt.
Keins ist gesteigert, kein Herz - , weil ein gewollter
Krampf der Milde euch zarter verzerrt.
Was es durch Zeiten bekam, das schenkt das Schafott
wieder zuriick, wie Kinder ihr Spielzeug vom vorig
alten Geburtstag. Ins reine, ins hohe, ins torig
offene Herz träte er anders, .der Gott
wirklicher Milde. Er käme gewaltig und griffe
strahlender um sich, wie Gottliche sind.
Mehr als ein Wind fur die grossen gesicherten Schiffe.
Weniger nicht, als die heimliche leise Gewahrung,
die uns im Innern schweigend gewinnt
wie ein still spielendes Kind aus unendlicher Paarung.

[Someth]ing (Walking to the Dubliner to See the Eddies)


Afraid to turn my
My
Phone recorder on
But its
[Trudge trudge trudge trudge]
What’s needed
To make
My thoughts a performance
But if the recording machine weren’t turned on
Then I wouldn’t be able to retrieve my thoughts
It's a performance
It’s on camera
It’s a media hit
So that’s what the phone recorder does
For me
First registering the fear
Of the performance
That I started with
That I mentioned almost before I even turned the recording machine on
[Trudge trudge trudge trudge]
The fear
The fear the fear the fear
The silence
So that I won’t have to listen to so many gaps
[Pressing the Skip silence button]
And now the gaps aren’t going to be in the recording
So what more is there
Beyond
There to say at all
[Someth]ing the camera on

Friday, February 16, 2018

Why Don’t I Worry About People Stealing My Poems?

I don’t worry about people stealing my poems.

I don’t want to be cynical or snarky about it.
Maybe people do steal them.
I publish most of what I write to a public blog. I’m addicted to my hit count, and a lot of the hits come from Russia.
Should that worry me?
I don’t have a copyright statement on my blog, or on any of the poems, but would that deter the Russian trolls?

Well, ha, I added one - Copyright (c) 2013-present.
Could be, my poems are published in Russia under someone else’s name, and that person gets all the benefit—
the money and glory—
but I guess I think that no one would steal my poems, because they have no theft value—no one could get money for them, or win prestige by claiming ownership.
Should I be bitter about this?
I had a technical writing job once, writing training manuals and help systems for employees of the company that paid me.
I sent stuff out for review before publishing it, but people seldom looked at it much.
One guy gave me my manual back with a paper clip attached for each of his comments—hundreds of comments—my manual came back looking like a porcupine—
but that was just to make sure I never gave him anything to review again.
How do I feel about my work having no theft value?
My co-worker John and I were talking once about how nobody looked at our work. “Perfect freedom, man!” he said.
But I know that a few people do look at some of the poems that I write nearly every day and publish on my blog.
I don’t know how often people actually read them from beginning to end.
But I know that people look at them, and I’m grateful.
Give me the roses while I live, I say.
And you do.

Thursday, February 15, 2018

5.38-Minute Soliloquy

OK I need a poem so here goes
Slippery out
Walking in the street
Looking at my
Red shoe laces
My brown shoes
Asphalt
All the ice over to the side
Snow mounds
Puddles of water
Yeah
Laurel Street
Yeah
Where am I?
Hague and Laurel?
Very beautiful olive-green-painted
Wood-slat siding house
Pretty big probably built
More than a hundred years ago
That’s the neighborhood
So now I’m walking
On the sidewalk, which is
Trickier but I-a
I just tell myself to keep my chin
In front of my feet
And then my
Shoes won’t shoot forward and make my head
Slam
Onto the cement behind me
Which has never really happened to me badly
But could
I know that one of Garrison Keillor’s brothers
Who lived in Madison
Died that way
Many years ago

Just walking on an icy sidewalk
You can die
You can die anytime really
But we think about that all the time I won’t
Go on anymore about that.
Whole bunch of finches
In a trimmed hedge
Whole bunch of em
Lot of finch shit in the snow
Down beneath
Huh
You know I can hear a saw
There’s a real
Real nice saw sound
Sounds almost like a
Gosh it almost sounds almost like a-a
Like a
Paddleboat horn or something
What do you call those things?
Mississippi river boat
Steamboat
Sounds like a steamboat
Horn and there’s Pete’s
Rubbish Hauling
PETE’S
In green lettering

There goes the garbage truck down the street
Now I’m on Prior I think
Getting pretty close to my own street
Ashland
And now I’m passing an apartment building
An old friend from grad school moved in here
A long time ago
And then I never saw her again
She left
She went to Florida or something
I felt bad that I never looked her up
She living so close and all
Not sure why I didn’t
Oh well
Regrets

And more regrets
YES yes yes
You know if I don’t talk
This poem will be shorter
Which is not a bad thing
So I can allow silence
To enter the poem
But if I did how would I
Portray it?
No one will know
Once I've typed these words out
Exactly where the gaps should go
Or how long they should be
There’s 

a


There could be a long long gap
Between any two words
There’s certainly a long long gap
Before the poem starts
That is before I turned on the
Recording machine
I did have that thought
That-a
That became the first line
Even before I turned on the machine
But now I can’t even remember what it was
And then of course a gap after the thing ends
And the recording machine
is turned off.

Monday, February 12, 2018

Haiku, Jorge Luis Borges


*
The vast night
is now no other thing
than a fragrance.
La vasta noche
no es ahora otra cosa
que una frangrancia.

*
Is it or isn’t it
the dream I forgot
before dawn?
¿Es o no es
el sueño que olvidé
antes del alba?

*
The idle sword
dreams of its battles.
Another is my dream.
La ociosa espada
sueña con sus batallas.
Otro es mi sueño.

*
The man is dead.
The beard does not know.
The nails grow.
El hombre ha muerto
La barba no lo sabe
Crecen las uñas.

*
Under the moon
the shadow that enlarges itself
is only one.
Bajo la luna
la sombra que se alarga
es una sola.

*
The old hand
goes on tracing verses
for oblivion.
La vieja mano
sigue tranzando versos
para el olvido.

Friday, February 9, 2018

4.30-Minute Soliloquy

Walking and walking
Before I turned this thing on
I saw and said specks of snow
What do you say?
Brown wooden fence
Ledge
Broken ledge
Broken brick ledge
Knarled bush
Leafless
Knarled bush
Funny lawn sculpure
Squirrel on a log
Squirrel on a tree trunk
Squirrel on a tree trunk
Stop sign
Sound of crows
Sound of my shoes
Crunching the snow
When you’re saying the words,
You’re not really paying attention.
But that’s not because
Things are not really
The words used
To refer to them
Probably
Or maybe they aren’t
They always try to think we
Assume it is
There’s a-a
Beige stucco house
Very lovely stucco
Looks newly-applied
Nicely painted
It’s a big house
1761
1761 Wheeler
There aren’t very many houses on
With Wheeler addresses
Although there’s 1753
On a garage.
Weird
I wonder if it’s really Wheeler
Probably isn’t it’s probably [inaudible]
Whateva!
So
I can certainly rattle on
For a long time
And I can mention things
Like the brown fence posts
But what am I saying?
I’m not really
I’m not really
Referring to fence posts
Or describing fence posts
Cough cough
I’m making you
See fence posts
And you can see whatever
Brown fence posts you like
But unless I’m talking to you
There’s no way for the fence posts
To mean a goddamn thing
Or for anything I say
To have any registration
So
You are the missing part
Of the reference of the words I use
I’m relying on you for them
And you kindly give them to me
Sometimes
But you don’t always have to
Why
You know you’re not
Obligated to
You just do it because
You think I’m kind of a sweet guy
Thank you so much!
I love you
Bye

Thursday, February 8, 2018

Victor, part 1

1.
As a child Victor astonished everyone with his brilliance. 
In the second grade he was already reading
the big, heavy book about the Kontiki voyage,
far above my level.
One day with a cape and wand
he performed magic tricks for show-and-tell,
rehearsed to perfection with his doting mother and older sisters,
who called him Sonny —
his father called him Bud.
I admired his performance with the rest of the class
from my wooden desk
— which smelled of
hoof gelatin.
One day
Victor gave me a special gift —
a pen, maybe —
gratuitously, and said something like
“A pen always comes in handy” —
though I’m disappointed that I don’t remember now
exactly what it was
or what he said.
I understood that the gift
was a courtship gesture, intended to convey
a friendly interest.
…
It was when I joined his mother’s cub scout troop
that Victor and I became best friends.
We ate cream puffs in the back yard in our uniforms,
wolfing the first to be sure of seconds.
One day when we had quarreled,
a group of girls from class told us to shake and make up.
“We don’t shake, we kiss,” Victor said,
and we embraced.
His mother was a nurse at the Pueblo
state hospital for the insane
on the syphilitic ward.
She was great at devising projects.
We made rattles out of orange-painted gourds,
glued handles onto them,
and performed in costumes to
a 45rpm record of “Baby Elephant Walk”
at the annual Cub Scout Jamboree.
We wound copper wire
around Quaker Oats boxes to make short wave radios
—
a project which bored me.
Once I had to bear colors at a
Scouts night meeting at the American Legion Hall.
Victor bore the Stars and Stripes.
I bore the flag of the state of Colorado.
During the anthem, thinking it would appear more symmetrical,
I saluted my flag instead of his — a mistake
of which I was greatly ashamed.
…
Victor’s family moved a lot.
After the 4th grade, we no longer attended the same school.
Every couple of weeks or so Victor would call me.
At that time he lived on a corner of 29th Street, next to a gas station.
The station manager was a wiry, laconic fellow,
who called Victor “Shit-For-Brains.”
In spite of his station uniform,
I thought of him as a beatnik type.
He once told us about hearing Peter, Paul and Mary at Red Rocks Theater.
He put his thumb and forefinger close together to show us
how itty-bitty they looked from where he was sitting.
Victor and I played Three Flies Up on the parkway across the street.
There were clusters of bushes we could hide in and pee
we called the “toiletries.”
Everything at that time had a kind of
trailers for sale or rent feel, including
a miniature golf course down the street
with a middle-aged dark-haired woman manager
who was always there in a little hut.
One day we got the idea of offering to vacuum the greens.
We thought we might get five or ten bucks apiece for doing it,
but after we’d worked for hours
and actually cleaned some of the greens pretty well,
all the lady gave us were some free golf tickets.
We’d get burgers at a drive-in called The Joker,
run by another beatnik type
(I seem to remember him in a cylindrical African hat),
who would admonish us not to
put too much ketchup on the French fries.
There was a good pinball machine there
with a green baseball field and players
crouching in their positions with immense gloves.
When you hit a home run, the ball would go splat
against the glass top, then roll under the back wall
and be returned to the pitcher.
…
Victor had bulldog —
Butch —
who would grab my jeans cuffs in his jaws and shake
me off balance, leaving them wet with his
slimy, smelly drool.
Victor’s father — also Victor —
Victor Hugo Wesley the First —
sat on the shady front porch before dinner,
obese midriff sagging under denim overalls,
emptying Budweiser quarts.
He would run the garden hose onto the roof
so that water would run down the vines
that climbed up the porch screens.
He was a foreman at
the Colorado Fuel and Iron Corporation.
Once the largest steel manufacturing plant west of the Mississippi,
the steel mill was a ruin by the time I was in my ‘20’s.
He despised my father, who was affected and histrionic.
I was afraid of him.
But he filled a small dining room with a bar-sized pool table,
and always had 5 dollars for old Bud.
The garage contained stacks of pornographic
magazines Victor and I snooped through.
…
It amazes me how much I don’t remember.
For example, I don’t know how often I saw Victor
in the years before junior high when we went to the same school again.
I had other friends,
both neighborhood friends and school friends.
There must have been times when I didn’t see him for a month or more
but I don’t remember missing him.
I would ride my bike to his house.
Once I was distressed and disappointed
when, to punish me for some misbehavior,
my mother forbade one of those trips.
Sometimes one of us would call just as the other was about to,
which we took as evidence of our amazing telepathic sympathy;
though I think that I usually waited for him to call.
I also think I visited his house more often than he visited mine.
When we got together we might go bowling,
or to a movie downtown.
I can remember some movies that I saw with Victor
including Goldfinger, Dr. Strangelove, The Magnificent Seven.
Afterwards we might buy slices of pizza at Woolworths
with fennel seeds in the sausage.
Sometimes as we walked we’d take pleasure
in how unconsciously we stayed in step.
More than once, though, Victor suddenly
vanished. I don’t know where he went, I guess
he’d dart behind a building or a car
and I’d have to wait anxiously for him to reappear.
He sometimes criticized me for becoming too completely absorbed
in a movie or TV show we were watching
instead of, like him,
remaining detached and aware of my surroundings.
As a teenager I was a mass of neurotic
phobias. For example, I hated caterpillars.
Victor once made a point of standing for a long time
watching inch worms crawl up a tree trunk.
I also disliked feet.
“I rather like my feet,” Victor said.
…
We shared deep thoughts.
This thought of mine Victor acknowledged to be profound.
Religious people often
list the vastly improbable conditions of our existence,
yet we couldn’t wonder about it if
the conditions didn’t hold.
One day we saw a strange white form in the distance,
supernatural and otherworldly.
We walked towards it, and when we reached it
after several blocks, it turned out to be
an old brick wall;
yet the otherworldly feeling remained.
We took turns pretending to fall asleep
and act out dream experiences of
alien abduction or sexual gratification
by thrashing and muttering.
I knew I was only pretending
but wasn’t completely sure he was.
“We don’t care if you believe us or not,
“We just don’t care,”
we intoned in unison to his exasperated sister, Bronwen.
…
One particular memory that seems like a dream:
We were by ourselves in the 29th street house.
Victor pulled some black-and-white photographs
from behind some books.
They were obscene pictures
of vaginas with various objects inserted —
flashlights and other things.
Usually no faces were visible, but
at one point he grabbed the pictures away and hid them again.
”That’s my sister,” he said.