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Sunday, June 12th, 2011
New businesses are opening in Vailsburg, Newark's western spur,
The sign on Sweeney's closed-down Liquors says a Subway's coming soon.
Improvement? Well perhaps, but anyways not detriment, besides
It’s good to see the signs of any economic life.
We’re riding bikes through Vailsburg, a group of us from west of here,
To see Marie and Ryan’s shop in Lincoln Park in Newark --
We’re waiting for some slower riders, an older man in slacks and straw hat
Chats with us about riding, about the 5-borough tour, he rides it yearly,
About his bike, a Trek (my model!), it's
“An old-school Trek,†he says, we chuckle.
Now the light turns green, we’re off, we ride due east, South Orange Ave.
We go
til it hits Springfield, downtown Newark and we’re nearly there,
We cut a little south on University and find their place
A few blocks down the way, on Crawford over by the school.
Marie and Ryan greet us and we look around -- Folk Engineered’s
Their company, builds custom bikes, with steel frame for classic look
And high performance, also something new, this year we see,
They’re putting out their first stock model bike, looks great, looks sweet.
Marsupial they’re calling it (still built to order), sleek clean lines --
It looks like an old Schwinn at half the weight.
They show us around the shop and walk us through the steps
Of building a steel frame, the measuring, the milling,
Ryan brazes lugs in for a water-bottle holder and we
Ooh and aah to see his reconditioned old machine tools
And the stately, austere frame that’s standing ready in a vise.
A lovely couple, they infect the whole group with their brio
And they serve us tasty crudités and cookies, fresh-baked,
Ryan’s cool iced-tea, we eat and chat and then we’re ready to head home.
On the way back I break from the group to get home a bit faster,
Sky is clouding up, the rain will come down soon, I think as I look up.
I always feel a little twinge as I ride by South Eleventh Street,
Where Brother’s BBQ was, my old favorite, it’s been closed for years.
I get back to South Orange, sweat is pouring off me,
Coast my way down Montrose in the cloudy twilight, here I am, back home.
So I’ll write up this whole journey as a verse and post it on my blog --
A verse? I’ve never done this -- but it fits to some rough meter,
So let’s get it out there, click on "Publish," see what people think.
Click through for more photos of the shop.
posted evening of June 12th, 2011: 3 responses
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The basic metric unit I've been thinking in poetically's the pæon, tetrasyllable with one stress on the third: and subtly varying the beat count and the emphasis, occasional cæsura, I find it stretches out the thoughts that I come up with and allows me to continue, to connect ideas that I'd not been aware of at the start. This basic pattern of stresses which I've been working with (and which I felt a shock of recognition at seeing confirmed in Pelele's piece the other day) is opening up new ways of hearing my thoughts. Two poems that I wrote yesterday venture a little further afield rhythmically; today's theme is dreams and transitions.
Fuzzy Punctuation
The dreams which I was just inside
come back to me, they give my day
unasked-for structure, so the friendly
stranger walking by on Broadway
smiling beatifically
is in some sense a page from last night's dream-book
(though he doesn't know it)
and he'll stay with me: be
smiling through my day's transactions,
follow to my office, he'll be
watchful as I give my notice,
end another chapter
of my life-book, and his visage
in my dreams and in my waking dream,
illuminates this bland transition,
lifts me up -- his dark brown moustache
serves as fuzzy punctutation,
marking off this minor epoch,
leading on, betokening
the job search that's to come.
Mentor
You can't escape your dreams, the old man said,
and I was not sure what to counter with,
I smiled shyly, hemmed and hawed
and joked, I don't imagine I'll be needing them
where I'm bound, I was going for a reference
to film noir, but it came out more sincere than I intended,
piss-poor irony, the old man said Don't worry,
I remember what you're going through,
I'm sure that you'll pull through until tomorrow. --
Then what? Felt a chill, to hear him use that ugly word,
the one that I'd been dreading,
but he laughed, and clapped me on the back, and winked,
and said that I'd be fine.
posted morning of June 12th, 2011: 1 response
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 Sylvia has been running for several months now with the local branch of the group Girls on the Run, getting progressively more endurance and faster (well she was pretty fast to start out with; principally she is gaining endurance). Yesterday she ran 5K at the Florham Park Jaycees' annual event, with a bunch of other girls from the group (and several hundred runners in all). The run took her 36 minutes and tired her out! Here she is coming off the starting line with her friend Alessandra -- Sylvia and Alessandra crossed the finish line together too. Click through for more photos from the run.
posted morning of June 12th, 2011: Respond
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Saturday, June 11th, 2011
Here are a couple of poems I have written recently. Experimenting with story-telling and with prosody.
Horizon
The best-laid tracks converge, they meet
way out there by the setting sun
confounding engineering dreams perspective in the desert
where the train runs off the vanished rails and crashes, yes,
it's tragic, sad-sack Sam the goldrush pioneer will never see his lover
who was riding west to meet him, look how Jesse and his outlaws
are confused, the hold-up won't play out, they may just ride their horses over the edge behind the train or else perhaps they'll turn back just in time, they'll skirt impending doom and spend their days retelling stories of the one that got away.
Crystal Armies
Fit the image to the meter
We can print it when you're done
When the armies that you're dreaming
Wander sleepy off the page and
Wave their effervescent banners
To the rhythm of your drum.
Marching softly, scarcely there,
You have to strain to make them out
Their dusty footprints on the pages
Almost like a printer's error
When they finally encamp
Inside your thawed out cerebellum
They'll build ghostly fires and sing
About the journeys of their fathers
And you'll scratch your forehead wondering
(In your clarity of vision)
Where the simple, crystal image
Of your verbal armies went.
I'd like to thank Pelele of Muchacha Recostada, who has posted what I believe to be a great poem, Mutilaciones (from 2009) -- my working definition of a great poem is one the reading of which alters how you read and write poetry -- I believe that "Mutilaciones," with its frantic, driving meter and its clarity of vision, will have a permanent effect on my reading of poetry and on my poetic output. "Crystal Armies" is written strongly under the influence of Pelele's piece. I'm working on a translation of "Mutilaciones"* which will be my first time (even dreaming of) translating a metered poem -- I do not think I am going to be able to keep the rhyme, but the meter is coming through very naturally.
 * Update: translation is here.
posted morning of June 11th, 2011: Respond
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Thursday, June 9th, 2011
En el sur de Chile este fin de semana estalló el volcán Puyehue y expulsaba un océano de ceniza al cielo. The Atlantic publica unas fotografÃas magnificas de la ceniza y el fuego y los relámpagos:
 foto por Claudio Santana
posted evening of June 9th, 2011: Respond
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Wednesday, June 8th, 2011
 Daniel Ellsberg is interviewed by CNN's Jay Kernis, producer of "In the Arena" -- he believes that Richard Nixon, if he were alive today, "would probably feel vindicated (and envious) that ALL the crimes he committed against me–which forced his resignation facing impeachment–are now legal." You can watch PBS's documentary on the Pentagon Papers, The Most Dangerous Man in America, online next week on Monday and Tuesday.
Elsewhere (and linked only by way of the disgust I feel for the malefactors), you can read about Cisco's outrageous abuse of the US and Canadian legal systems (and about the US Justice Department's cooperation) at Naked Capitalism.
posted evening of June 8th, 2011: Respond
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Tuesday, June 7th, 2011
 Justin Erik Halldór Smith has posted a fine essay on the names of mushrooms -- names fraught, at least in the cultures of Western Europe, with references to death and sickness, names richly and comicly multifarious; names which are "just folk terms, and so, since the beginning of the 18th century anyway, are not the real names of anything. Or at least that's what we're supposed to believe."
Found via a link at LanguageHat, where the discussion in comments is lively and worth while as always.
 Elsewhere: John L. Trapp's preliminary catalog of bracket fungi in Berrien Co., Michigan, includes a lovely photo of a wood-ear mushroom called "Dryad's Saddle."
posted evening of June 7th, 2011: Respond
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Monday, June 6th, 2011
18 Years! Your marriage is now old enough to be drafted, but not to drink! Congratulations, here's to many more years together.
posted morning of June 6th, 2011: 1 response
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Sunday, June 5th, 2011
My experiences this past week or so with reading Beckett's Comment C'est were leading me to wonder where the distinction lies between poetry and novel -- in his introduction Richard Seaver refers to Beckett's work as a novel, but very soon after I started reading it I had the thought, this is not a novel, it's a long poem. What did I mean by saying that? A key difficulty I have with long poems (not considering epic narrative verse here) is not being able to put them down and then pick them back up in the middle -- every time I pick up Comment C'est I commence on the first page, because there is not any story line for me to keep track of or characters (besides Beckett himself) or any of the sort of progression and development that I expect to see in a novel. This keeps me from getting anywhere with the book (beyond loving the opening pages anyways), because it is much too long to read all of in a single sitting. In a sort of funny coincidence, I was having a similar problem with the much shorter long poem Canto de guerra de las cosas, by JoachÃn Pasos -- as I wrote below, it is simply too much imagery for me to absorb all at once... Likely a successful reading strategy for the Beckett piece would involve focusing on little bits of it at a time, not on trying prematurely to integrate the pieces together. When I hit on that question -- what do I mean by calling the Beckett poetry "rather than" fiction -- my initial response was along the lines of, well, no plot, no characters, no development, the meat of the piece is its language and the imagery called forth. But, well, language and imagery are of primary importance in many of my favorite novels, ones that I categorize as fiction with no questions. Narrative quality is a key point -- Comment C'est is not a narrative in any sense that I can see. But there are poems (again disregarding epic) that tell stories, and that I don't hesitate to call poetry or confuse with fiction... I think where this is headed is that there is a wide space between the two categories, that individual works can be in one category but have attributes of the other. And somehow I always just seem to know instinctively which category the work I am reading belongs in.
posted evening of June 5th, 2011: Respond
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¿Cómo puedo entender el «Canto de guerra de las cosas»? JoachÃn Pasos me parece periodista incrustado en el ejército de la existencia... Es un poema largo, 19 estrofas, 150 lÃneas, cada lÃnea (casà cada lÃnea) dibujando su propia imagen y cada estrofa surgiendo de estas imágenes en un cuadro complejo y múltiple. Todo junto es demasiado (para mÃ) para mantener... Me parece que el mejor camino de entender el poema entero y también de traducirlo, es bien entender cada lÃnea y cada estrofa, trabajar desde las raÃces del árbol más bien que intentar todo en una vez comprender.
posted morning of June 5th, 2011: Respond
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At Shady Characters, Keith Houston opens his 