* (Hum)An Algebra with Don Bogen

Anything That Happens – Don Bogen

Anything that happens is too fast to see
But I watched it – there are pictures in the album
Less than a second’s light fixed in chemicals
Little boxes under a vinyl sheet gone cloudy now
What are these dyes that fade at the surface
That child face you wear still under your skin
Whenever I look nothing changes
A photo gives the residue of a lost moment
It claws at memory like a drowning swimmer
Who will not be saved

* insert sound of cellophane here *

* insert sound of cellophane here *

Just finished reading Don Bogen’s book An Algebra, a collection consisting primarily of extended lyric sequences counterpointed by shorter lyrics like the one above.

The poem above speaks to the heart of the collection – Bogen presents a lyrical exploration of personal history, a concept that would be daunting if it weren’t rooted in a sense of self.  You can hear a real voice puzzling over That child face you wear still under your skin.

Last month I spoke about how cemeteries and thrift stores are alike in that they are charged with human connection, human lives passing each other in stone and aisle.  Reading the next poem, I marveled at Bogen’s ability to delve into that other charged human place – the yard sale – and dig out of it a real sense of mortality.

The way things change when we get rid of them, the way we change getting rid of them, what passes idly through the hands on a Saturday morning – all of it part of the history of who we were.

* chair's the dresser! *

* chair’s the dresser! *

Wants – Don Bogen

There’s nothing anyone could want
A yard sale where the private past is suddenly on display
Brought up from storage, dazed and blinking
Drugstore lamps, dessert glasses, AM clock radio
The two-speed bicycle you stripped down over the years
Worth more if it still had its tank, fins, and handlebar streamers
What moves and what doesn’t – you can’t sell it all
On card tables old desires transpose into objets d’art and junk
The basement empties like the hold of a freighter
So you can get away

*

Happy awaying!

Jose

* summer dancing with Alice Fulton

* Jimmy being told they are out of donuts *

* Jimmy being told they are out of donuts *

At the start of summer we started an old movie kick sparked by Alfred Hitchcock’s The Man Who Knew Too Much.  James Stewart is a champ in it.

Since then, we’ve done more Hitchcock as well as a few others.  The most surprising was Singin’ in the Rain – straightforward joy and spirit (with a few dance montages out of a really bad acid trip!).

* word to your soft shoe *

* word to your soft shoe *

It made me think of me and Ani’s first summer together.  We took a waltz class with her parents.  Evenings of following each other’s moves and learning something new together made summer feel like spring – in spirit at least.

The waltz became a part of our history that summer.

Alice Fulton’s poem below explores some of the history of the waltz – the real history, what it has meant to people, what all moves between people when they dance.

*

The Orthodox Waltz – Alice Fulton

Courtship, the seamless mesh
under taffeta havocs
of hoop skirt, smoke

hoops from his Lucky Strikes
her words jumped through.
Women dancing had the harder part,

she’d heard, because they must
dance backward.
He kept his ear pressed

like a safecracker’s
stethoscope against
her head, kept his

recombinant endearments
tumbling toward a click.
The lachrymose music,

his clasp and lust-
spiel, displaced her
mother’s proverbs.  How nimble

they were, those girls
gliding by on dollies.
What had her mother said

that sounded wise?  Was it
“Women dancing must be agile
as refugees with jewels

tied to their thighs?”

*

Happy dancing!

Jose