* throwing things on the floor with Jim Harrison & John Keats

In reading Jim Harrison’s novel The English Major last month, I came across the following and it brought tears – I have been much for tears these days – and mainly because I have been slowly going over poems I have memorized, seeing what stuck and what fell off, and was suddenly surprised to recognize the poem referenced below:

I was saddened by the idea that I might not finish the work before I died, a natural enough fear.  Keats wrote, “When I have fears that I may cease to be before my pen has glean’d my teeming brain…”  That was throwing the raw meat on the floor in a lovely way.

That phrasing throwing the raw meat on the floor – that’s it isn’t it – what it is a poet does no matter the how we use to do it.  We are not in the business of poetry if the raw meat isn’t on the floor.

Realizing I had let the poem slip after a few years, and then coming back to it, memorizing it again – more than an old friend, I felt like a piece of myself was returning, that something understood once was being reconciled in a big, new way.

There’s a lot of history in the poem too: Yeats borrowed the phrasing of high romance, and John Berryman references the end of the poem in the title of his book Love and Fame.  I myself am tempted to borrow and manipulate the phrasing for something called: The Fool-ripened Grain.

Here is the poem below – you can see for yourself how awful and sacrilegious my idea is.

* you let the meat fall where? *

* you let the meat fall where? *

When I have fears that I may cease to be – John Keats

When I have fears that I may cease to  be
Before my pen has gleaned my teeming brain,
Before high-piled books in charactery
Hold like rich garners the full ripened grain;

When I behold, upon the night’s starred face,
Huge cloudy symbols of a high romance
And think that I may never live to trace
Their shadows with the magic hand of chance;

And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love – then on the shore

Of the wide world I stand alone, and think
Til love and fame to nothingness do sink.

***

Happy sinking!

Jose

* who we are & Yannis Ritsos

Protection – Yannis Ritsos

The sky bends over us, responsible,
as our poem bends over the sadness of mankind,
as the sensitive, initiated eyelid bends over the eye,
protecting the pupil of the eye from the dust,
the improvised light, the hardly perceptible insects,
so that the eyes may open again forewarned and free,
each time the chance comes to view the miracle of germination
and to herald their smile to another.

* eye see what you mean *

* eye see what you mean *

Something about Yannis Ritsos I keep coming back to.  Perhaps it is the earthiness of what he writes about.  Above, you have a meditation on eyelids as I have never read before.   The tender eyelid as protective.  I mean, that is what it does, some part of me knew this – but this gives it back to me.

Cool.

Here’s another short dose of who we are.  The lyric below takes me to somewhere lonely through an indirect path – through an impossible image I am given very possible feelings.

*

Recollection – Yannis Ritsos

A warm aroma had remained on the armpits of her coat.
Her coat on the hanger in the hallway like a drawn curtain.
What was happening now was of another time.  The light altered faces,
all unfamiliar.  And if someone was about to enter the house,
that empty coat would lift its arms slowly, bitterly,
and silently shut the doors once more.

***

Happy shutting!

Jose