* old friends from Australia

* candy of two kinds *

* candy of two kinds *

The above book and treats arrived yesterday from my friend in Australia, Catherine Baab-Muguira – poet/novelist/and overall amazing person.  She has been kind enough to send along the book Poser by Claire Dederer across many miles between continents because a good book should travel far in so many senses of that phrase.

Those are also chocolate bars up there: those only have a day or two left of travel *ahem*.

Cat and I met each other in 2004 during the Bucknell Seminar for Younger Poets.  I was an insufferable young poet in my twenties (mind you, I continue to be insufferable in my thirties, no slacking there) and she was one of a gang of good people with which I had the gift of a month of writing/reading/talking poetry.

The poem below, by Australia’s legendary Les Murray, came to mind as I thought about doing this post in gratitude to my friend who lives in such a faraway and cool place (her beach photos are the best).  The poem came to mind because of the youthful drama of being a young poet that played out during the seminar in 2004 – a drama that still continues today.

Those last two lines:

As usual after any triumph, I was
of course, inconsolable

pretty much describe me after any particularly productive writing jag.

As a poet, you are never closer to the stuff than in the writing and rewriting.  The before and after, well, that’s the rest of your life.

**

Performance – Les Murray

I starred that night, I shone:
I was footwork and firework in one,

a rocket that wriggled up and shot
darkness with a parasol of brilliants
and a peewee descant on a flung bit;
I was busters of glitter-bombs expanding
to mantle and aurora from a crown,
I was fouettés, falls of blazing paint,
para-flares spot-welding cloudy heaven,
loose gold off fierce toeholds of white,
a finale red-tongued as a haka leap:
that too was a butt of all right!

As usual after any triumph, I was
of course, inconsolable.

**

Happy triumphing!

Jose

* stepping into the river with Charles Simic

The stone is a mirror which works poorly. Nothing in it but dimness. Your dimness or its dimness, who’s to say? In the hush your heart sounds like a black cricket.

Charles Simic

*who you calling dim?*

*who you calling dim?*

Since I quoted the man last week in regards to the prose poem, I thought I would share some of Charles Simic’s own work in the genre.

In these excerpts from his book The World Doesn’t End you definitely can catch some of that sense of being caught up and driven to rereading a poem in order to continue grasping what the first reading of it had you start to grasp.

This may be an exasperating way of thinking about reading – you not only read but go over what was read to read into it more – but it’s the kind of thing that poetry teaches you to do and the helps the reading of a poem to be at times both illuminating and, well, exasperating.

Simic himself says in one of his notebooks that poetry and philosophy make slow solitary readers.

I know the feeling.  In the same way you can’t step in the same river twice, so you can’t read the same thing the same way twice.  You change each time.

Stepping into the river with Simic, I always leave surprised.  Here’s more:

***

Things were not as black as somebody painted them. There was a pretty child dressed in black and playing with two black apples. It was either a girl dressed as a boy, or a boy dressed as a girl. Whatever, it had small white teeth. The landscape outside its window had been blackened with a heavy and coarse paint brush. It was all very teleological, except when a child stuck out its red tongue.

*

We were so poor I had to take the place of the bait in the mousetrap. All alone in the cellar, I could hear them pacing upstairs, tossing and turning in their beds. ‘These are dark and evil days,’ the mouse told me as he nibbled my ear. Years passed. My mother wore a cat-fur collar which she stroked until its sparks lit up the cellar.

**

Happy sparking!

Jose