Showing posts with label sonnet. Show all posts
Showing posts with label sonnet. Show all posts

Friday, October 20, 2017

Poem trying to get in out of the rain


Autumn rattles at the windows of the night, rips
leaves from looping trees, punches
gustily against the wall.
I waken to creaking roofbeams, peer
sightless into blacklit night. Nothing
to see, but everything that is is sounding:
such a rush and crash of waves on rocks;
the clothesline sings a one-note samba,
the chimney turns to didgeridoo.
Only the dog sleeps, silent, beside me.
If I open the door to let the poem in,
it can sleep all night on the bench by the fire and
I'll return to bed then to wake you, slipping
frigid feet behind your knees.


Photos are of Usnea, or "Old man's beard" lichens in British Columbia and Nova Scotia.

Tuesday, June 30, 2015

Another kind of wildness



(Sonnet. Words yanked from "returning the books to their shelves" by Bernadette Mayer)

city          Feeling far from the city finally in Desolation.
time         Time to walk and stretch and swim and think until
19            19 o'clock in the evening
stream     when I hope we will eat a big fish you caught in the tide stream.
taxi          It's running so fast gulls taxi by
it              on blocks of driftwood; wing back; do it
mulch      again. Scent of kelp sea urchin and dessicated crab mulching
then         on the shore. The dog sniffs, then pounces cracking
window   shells with her teeth, each delicious crab leg a window on
nothing    another kind of wildness. Nothing can take this from her.
books       Like I here with my sketchpad and books,
cold         feet slippered against the cold, disregarding
phone      the insistent phone, opening turning
shelves    emptying the shelves of ordinary life.

I finish reading the 25th anniversary edition of Bernadette Mayer's wonderful Sonnets (Tender Buttons Press, 2014) while we are anchored in Desolation Sound. Despite their distance from where I am, Mayer's urban words and images suffuse my dreams, and I tap away at her lines, trying to understand how they fit together. One of Mayer's projects in particular, undertaken with Philip Good, strikes me: a list of fourteen words finds its way into a sonnet, one word per line (66). I decide I will try to co-compose with Meyer, by pulling words from another of her pieces that I love very much, a love sonnet entitled "returning the books to their shelves" (67).But as soon as I've decided on this method and pulled the words from Mayer's poem, I think, I can't make a poem from these words! I'm north of 50 degrees north latitude--what have I to do with cities, time, taxis, windows, phones or shelves? But as soon as I let the poem begin with that dilemma, the rest follows: being where I am lets me empty these words of their ordinary contexts and make other associations. Evidently, the neighbourhood is everything, no matter where you are.

Image: reflections north of 50.

Saturday, May 30, 2015

Sun salutations don't make the sun emerge

Enya in bladderwrack with her stick

An island obscuring fog
drapes mist over every
surface, beading window
panes dog's belly pine needles
and the arms of my sweater
when I step on the porch to watch
an acrobatic crow draw lines in air.
Water boiled:: tea steeped:: dog fed.
Permutations of downward facing dog
(enhanced with growling): sun
salutations don't make the sun emerge.
Head stand; I land; still this damp
shroud.

Fog snared spiderweb


Notes:

The daily not-quite sonnet: 13x I'm calling it, my private little experiment with writing poems that are just 13 lines long.  It's strange, this practice of writing a poem of a defined length. Each poem becomes like a puzzle, a box of a defined size into which you must fit odd heterogeneous items so that when you're done the box has become a drawer full of interesting oddities and meaningful content.

Each length exacts its own pressure and creates its own surprises. What happens when you cheat a sonnet by one line? In my case--I think--the poem wakes up, becomes stranger, more colloquial. Is this my imagination, or is there really so much difference between one line count and another? I will have to continue with my experiment to see.  Are 13 lines really more light-hearted than 14? Is it habit or a subtle interruption of habit that makes me think so?

All photos taken today in West Quoddy in the fog. 

Leaf captured fog

Tuesday, March 4, 2014

Unfreeze (not quite a valentine)



What we did and would and could
What we should
What we did not and why
Which we couldn't
What she said  What I said
What we did
How some words flick open, slip sharpened steel beneath the breastbone
How others encyst themselves and grow tumorous, stopping up the lungs
How what was fluid became solid
How the sea was covered in ice and the rain needled down, encasing the cars in brittleness
How a gesture incompleted never--
How stillness shattered
How the leg of a chair flung down
bounces but does not break


Notes
Images are of the West River in Sheet Harbour today as it roars between freeze and melt; the poem, a rough sort of sonnet, inspired by one of several exercises my students did several weeks ago, to "write out an argument." Here I was reaching for something that might, as a horoscope said a few weeks ago, "bless the messiness and largeness of desire." Love is never without its hard edges; what matters is that we survive (literally) our madness.

Friday, November 29, 2013

On feeling blue (reflections on insomnia and melancholy)


Every year around this time, I lose my steam. It's not just that the days are shorter and colder and the wind more cutting, although these things are surely factors in any sense of diminished purpose; it's not just that so many of the plans packed into the early days of the autumn semester, with freshly sharpened pencils, and as-yet unread books--yes, we will get through it all!-- have somehow been undone by circumstance and scaled-back ambitions--let's just make it to the end of term in one piece, without too many tears; it's not just the stacks of papers mounting, the endless marking, the fatigue of one-too-many committee meetings, or the necessity of getting the snow tires on, although these things do take their toll. It's not even the lists of things undone from the end of the summer, the unprocessed photos and sound and video files (some not even yet downloaded!) from our latest summer sailing, the fact that the floor of my home office is covered in stacks of papers I don't have time to file, and that there are still gaping holes in the wall where two years ago the carpenter banged out chunks so that we could observe whether the window frames were leaking water inside the walls; it's not the cupboard full of partially completed manuscripts, or the printer I need to fix so that we can print photos at home again; it's not even the six cords of wood recently dumped by the wood racks that we must get up off of the ground this week, despite the fact that I wrenched my back last Friday while stacking wood, and for much of this week, could hardly bend down to tie my shoes, or the fact that our beloved boat blew down this autumn and is wrecked beyond repair. These are in the end, just things, annoyances, labours to be completed (albeit sometimes Herculean), rendered more difficult by the fact that all I seem to want to do is to huddle by the fire or hibernate, and that for half the week at least, while I am in town at work, I do not live at home.

In the end, what gnaws at me and wakes me in the night is something other than all of these things.

At first, of course, the source of my insomnia masquerades as one or another item on my infernal lists--all with a sticky sort of power, so that one item gets enchained to another in an endless midnight series. I lie in bed and unfold the list, accordion pleat by accordion pleat, not forgetting to add old sins or invent new ones--it is as if I am, now and forever, reciting the terms of the Lutheran confession that framed my childhood days:
Most holy and merciful God,
we confess to you and to one another,
and before the whole company of heaven,
that we have sinned by our fault,
by our own fault,
by our own most grievous fault,
in thought, word, and deed,
by what we have done and by what we have left undone.


As I child, I had thought it terribly unjust that "things undone" (something of which I am forever guilty) somehow weighed as much as things wrongly done. My wakeful night time adult self however understands utterly the scale of my own worthlessness as measured in things "left undone." We never can come to account; life is lived in arrears these days--financial, temporal, social, familial: the holes are everywhere. Darkness comes and you tumble into it, with all of the lists of your dead.

For this is the crisis, in the end, not the wrestling with earthly tasks, but letting go of the dead, (autumn seems to bring so many). Finding joy and purpose without them. Lists of chores aren't enough to bring on a full-blown existential crisis (although throwing your back out and then adding to the lists of things to do might assist); what creeps around the edges of the duvet on these cold nights are the winds of mortality.

There are so many I miss, gone, like the winking out of starlight; and the longer I live, the more people and creatures there are to miss. Why are we built thus, "so that," as Rilke writes in his Eighth Duino Elegy,
no matter what we do, we are in the posture
of someone going away? Just as, upon
the furthest hill, which shows him his whole valley
one last time, he turns, stops, lingers---,
so we live here, forever taking leave.

In these middle of the night agonies, I am, perhaps, despite my own feelings of worthlessness, doing the poet's bidding, even perhaps, hearing my own calling...

In the Sonnets to Orpheus, Rilke writes, 
Be ahead of all parting as though it already were
behind you...
For among these winters there is one so endlessly winter
that only by wintering through it will your heart survive.

Impossible task. And yet, which other one could I choose?

After all, most of those things that I do and don't do on my to do lists don't add up to much: they are but preoccupations--not exactly what one must do for life to have had meaning, for it to have been enough.

Here's the odd thing: we wake and churn and turn about inside, but what feels like enough is never much and never within. It is the white flash of gulls' wings in the sun, or the far flung spangle of the milky way. It is a ray of sun on my cheek or the cat's purr; it is a friend's laughter, a lover's breath, the aching arc of a melodic line, the first frost etching patterns on the pond. It is the boom of a wave and the smell of sea spray, the burst of red juice from a ripe pomegranate or the flicker--now you see them, now you don't--of surviving deer slipping into the woods.


Thursday, April 25, 2013

Flexible dates




Mind reading and mentalism. Camera gear! 
Free psychic reader, 30 years. (I'm glad you're 
gone, I wish I had gone with you) Raw food. Garden
party. Thursday afternoon in the pet
store. You in your motorcycle jacket
looking at the fish. (Rebecca and I 
miss you) Me, talking to the bored bird. I thought we
had a moment (I miss everything about you) in
the hyperbaric chamber. Belly dancing. (When 
the time is right) You must speak
Swiss German. Have own platinum
dolls. Flexible dates. August 14,
2-5 pm. (You know who you are, 
you were bowling)


Notes
This poem was composed entirely from words lifted from the back pages of a June 2009 issue of The Coast, a free weekly newspaper distributed in Halifax, Nova Scotia. Personals, event advertisements, job listings, adult services and classifieds spell out the traffic of so many secret lives.

Photos are of various sites in Halifax and on the Eastern Shore.


Monday, April 22, 2013

The whales came again last night


The whales came again last night
bumping up against the hull, gurgling
at the through-holes, rocking gently rocking. Then
they began to sing--sounds of damp fingers
trailing mouths of goblets, slip-stick crystal music,
pure ethereal tones knitting voices in the night.



I dreamed we'd seen them singing, these after-
midnight whales; they were oddly jointed
giants, skins crayon-coloured in aquamarines
and rusty reds. In my dream
in the waking world, no one cared what
we had seen.  They went about their daily
lives, pumping gas and annotating
endnotes. But we had heard the whales sing.



Notes
Several times in the middle of the night, while we were on the boat in northern British Columbia last summer, we were wakened by a peculiar, ethereal singing, vibrating through the hull. It was often accompanied by a gentle rocking or bouncing in the water around us.  What we heard corresponds to no known whale songs, though portions of the pitch approach the songs of Southern Killer Whales, while the slow rhythms of what we heard resemble humpback songs,  albeit at a much higher pitch. I report on a dream I really did have here. We still do not know what creature we were hearing, but are profoundly attached to the idea that we've heard the whales singing. For more on that trip, see http://quoddysrun.wordpress.com/

Images are from Khutze Inlet, where we first heard the singing, and Bolin Bay, where we heard it again. The last image was taken not far from Malcolm Island, looking towards the mainland.

To hear recordings of various whale vocalizations, see http://en.wikipedia.org/wiki/List_of_whale_vocalizations#Blue_Whale_.28Balaenoptera_musculus.29

Why do crystal glasses give off a sound when you rub them with a wet finger?  It has everything to do with vibration and what is called the "slip-stick" phenomenon. See http://www.ccmr.cornell.edu/education/ask/?quid=1143

Finally, just for the pure pleasure and virtuosity of it, see Brian Engel play Mozart's Adagio in C Major for Glass Armonica: http://vimeo.com/2073455


Friday, April 19, 2013

A poem about



"Can we put in orders, can we be patrons? 
I would like a poem about--
where was the line I
crossed but didn't notice? Your 
first botany notebook.  
Hot taste of homemade raspberry 
pie; picking berries in the
summer sun. How 
rocks get old. The hum
ming of Glenn Gould. World in
black and white. Molecules of 
chocolate.
Do we all have a wall of 
prayer? Where?"



Notes
These lines adapted from a letter from my friend and demonic patron saint, Marie-Therese Blanc. I will answer her orders. Somehow. In the days to come. I am grateful for them, and all of the strange dreams they invite. But first, her requests seemed to me to constitute a poem themselves, so here they are.


Images were taken on the West Quoddy dock yesterday; lobster season opens soon.




Tuesday, April 16, 2013

Blue odour of iodine



Strange and complicated morning. A skim of ice
calms the sea; sudden colour scours your eyes.
Bright light white heat flood the house. 
Throw open the windows! Fling wide the door!
Flash of kingfisher wing and peaked blue crest
(you're back! we're so glad to see you!). Sparrows sing.




Scent of---    open water. Salt, of course. Blue
odour of iodine, knotted rotting bladderwrack,
sunwarmed grey stone steeped in cold mud:
each element bound to its proximate. Life
on the strand, lived at an edge, wind-tumbled,
cloud-driven. Unstable. Chance-riven.
What peculiar mercy makes us forget that
with heat, comes fog?


Notes
I am thinking of Boston this morning, and the two explosions at the marathon finish line yesterday. (Who in North America isn't riveted and horrified by such wreckage of runners and their families and friends?) But to write a poem about that seems impossible.  I judged a poetry competition once not long after 9/11, and the poems that commemorated that event were, without exception, awful. Mawkish versions of catastrophe miniaturized in dancing rhyme. An occasion for falling flat on your face, poetically speaking.  Still, as I finished this poem I realized something about yesterday's news was working me--that what one finds at the edge of a sudden change is not a clash of civilisations (that appalling phrase and idea authored by Samuel Huntington), but one thing slowly shifting into another, "each element bound to its proximate." And this too, of course: what draws us--heat, say, or celebratory events full of oblivious affluence, also draws other things we think we love far less, like fog--or anger and targeted destruction. We forget at our own peril our own angers, our own targets, how closely interleaved rage and righteousness are.

Pictures, more land-weaves and tumbling structures, natural and not, taken on Nova Scotia's Eastern Shore.


Sunday, April 14, 2013

April Sunday Morning / moods in falling snow






Risen from the blindness of sleeping to dull light of morning.
Shadows flare and blur. When I find my glasses: sudden sharp edges.
Fat snowflakes gathering in clusters bomb by the windows--
Oh why get up; just let me close my eyes.
But the dog wants breakfast and the fire must be lit, so I stand up.
Waves swarm the harbour and rush into land--
this battle will be lost. Gritty foam scatters on the beach, 
clings to stone, tumbles end over end.
Lately I'm hearing voices as if
the radio's half un-plugged.
There's this song that someone is singing
in a language I can't understand.
In the newspaper, rows of North Korean children holding red scarves.
No one mentions hunger, just missiles, thermonuclear threat, diplomatic talks.
Crows cackle in the snow, but the sparrows do not sing.



Notes
Nearly every day for a period of years, Robert Lowell wrote at least one blank verse sonnet--fourteen lines of dense thought and rhythm, without any rhyme. I break more rules here--hardly following the sonnet form at all (I am a much less able poet than he)-- but do begin with a variation on one of his opening lines, from "Blizzard in Cambridge" (first published in Notebook 1967-8). My title, of course, echoes Wallace Stevens' "Sunday Morning," a long poem built of eight 15-line stanzas. The second part of the title, "moods in falling snow," is a line from that poem.  And for any line that begins, "Lately I....," I am indebted, of course, to Amira Baraka, whose "Preface to a Twenty-Volume Suicide Note" resonates forever.

Pictures were shot through a plastic bag in damp weather, in Marie Joseph and the Liscombe River, on the Eastern Shore of Nova Scotia.