An Urge to Flex Everything

“I seem to be very and/or, / with an urge to flex everything until it loses / what I secretly feel to be its false polarity.”

‘Solidus’ by Ron Padgett

Why am I making myself
do and be things that I don’t really want to?
Because I have an idea of what I should be doing and/or
I don’t have an idea of what I really want to be and/or do.
And/or both. I seem to be very and/or,
with an urge to flex everything until it loses
what I secretly feel to be its false polarity.
E.g., there is a such thing as good and
such a thing as evil, it’s just
that they aren’t opposites.
Am I a good person? Yes, after
a certain point, and no, after another.
Deep down I’m just down there, a kind of gurgling
black Jell-O that doesn’t have any idea
of what’s going on up here. Up here
I have on a baseball cap and have
a vague desire to fix the closet door.


Source: Padgett, Ron. Collected Poems. , 2013. Print, p. 503.

Photo: Main Street, New Paltz; Nov. 6, 2020; Joe Gerace

The Fiction of Time Destroyed

“the fiction of Time destroyed, / free from love, from me.”

‘Anticipation of Love’ by Jorge Luis Borges

Neither the intimacy of your look, your brow fair as a feast day,
nor the favor of your body, still mysterious, reserved, and childlike,
nor what comes to me of your life, settling in words or silence,
will be so mysterious a gift
as the sight of your sleep, enfolded
in the vigil of my arms.
Virgin again, miraculously, by the absolving power of sleep,
quiet and luminous like some happy thing recovered by memory,
you will give me that shore of your life that you yourself do not own.
Cast up into silence
I shall discern that ultimate beach of your being
and see you for the first time, perhaps,
as God must see you—
the fiction of Time destroyed,
free from love, from me.

trans. Robert Fitzgerald


Source: Borges, Jorge L, Willis Barnstone, and Alexander Coleman. Selected Poems. New York, NY: Penguin Books, 1999. Print, p. 39.

Photo: 11 Church St., New Paltz; Nov. 6, 2020; Joe Gerace

‘Greenwich Avenue’ by James Schuyler

In the evening of a brightly
unsunny day to watch back-lighted
buildings through the slits
between vertical strips of blinds
and how red brick, brick painted
red, a flaky white, gray or
those of no color at all take
the light though it seems only
above and behind them so what
shows below has a slight evening
“the day—sobs—dies” sadness and
the sun marches on. It isn’t like that
on these buildings, the colors which
seem to melt, to bloom and go and
return do so in all reality. Go
out and on a cross street briefly
a last sidelong shine catches
the faces of brick and enshadows
the grout: which the eye sees only
as a wash of another diluted color
over the color it thinks it knows
is there. Most things, like the sky,
are always changing, always the same.
Clouds rift and a beam falls
into a cell where a future saint
sits scratching. Or a wintry
sun shows as a shallow pan of red
above the Potomac, below Mount Vernon,
and the doctor from Philadelphia
nods and speaks of further bleeding.

Source: Schuyler, James. “Greenwich Avenue.” Collected Poems. New York: Noonday Press, 1998, pp. 169-170.

Artifacts of Reference, No. 70

"The Collective" by Bogdan Czaykowski

Sources: Czaykowski, Bogdan. “The Collective.” Volvox: Poetry from the Unofficial Languages of Canada in English Translation, edited by J. Michael Yates, Victoria, British Columbia, Can: Sono Nis Press, 1971, p. 61.

Coulthart, John. “Howl from Beyond.” 1997. Trading card. Wizards of the Coast, Renton, Wash.

“The Great Enigma” by Stamatis Polenakis (trans. Richard Pierce)

photo c 2020 joseph gerace/wikipoem.org

Goodbye forever to this brief
age of freedom.
Farewell unforgettable days and glorious nights
and leaves swept away by the wind.
We were young, we hoped for nothing
and we waited for tomorrow with the blind obstinacy
of the castaway who throws stones in the water.

Source: Polenakis, Stamatis. “The Great Enigma.” Austerity Measures: The New Greek Poetry, edited by Karen Van Dyck, 2017, p. 233.

‘Dream Song 238’ by John Berryman

Henry’s Programme for God

“It was not gay, that life.” You can’t “make me small,”
you “can’t put me down” or take away my job
I am immune,
although it is not gay. Why did we come at all,
consonant to whose bidding? Perhaps God is a slob,
playful, vast, rough-hewn.

Perhaps God resembles one of the last etchings of Goya
& not Valesquez, never Rembrandt no.
Something disturbed,
ill-pleased, & with a touch of paranoia
who calls for this thud of love from his creatures-O.
Perhaps God ought to be curbed.

Not only on this planet, I admit; somewhere.
Our only resource is bleak denial or
anti-potent rage, both have been tried by our wisest. Who was it back there
who died unshriven, daring to see what more
could happen to a painter with such courage.


Source: Berryman, John, and Michael Hofmann. The Dream Songs , 2014, p. 257.

‘For a Moment’ by Ron Padgett

'For a Moment' by Ron Padgett

It’s funny how
if you just let go
of things they

will come to
you. That is to say
sometimes. So what

good is such a
generalization?
Ah, it makes you

feel good to say
such things from
time to time,

as if you actually
and really and truly
knew something!


Source: Padgett, Ron. Collected Poems. Minneapolis, Minnesota: Coffee House Press, 2013, p. 415.

‘Royalty’ by Arthur Rimbaud, trans. John Ashbery

First published in 1886, Arthur Rimbaud's Illuminations, the work of a poet who had abandoned poetry before the age of twenty-one, changed the language of poetry. Hallucinatory and feverishly hermetic, it is an acknowledged masterpiece of world literature, still unrivaled for its haunting blend of sensuous detail and otherworldly astonishment. In Ashbery's translation of this notoriously elusive text, the acclaimed poet and translator lends his inimitable voice to a venerated classic.
He died of cancer in a Marseilles hospital in 1891, still young — having in effect compressed what for others would have been a long lifetime of artistic revolution and exotic adventure into just 37 years.
Arthur Rimbaud was born in 1854 in Charleville, in the northeast of France close to the Belgian border, to a sour-tempered, repressively pious mother and a mostly absent soldier father who disappeared for good when Rimbaud was 6.

Royauté

Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique. «Mes amis, je veux qu’elle soit reine!» «Je veux être reine!» Elle riait et tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient lun contre l’autre.

En effet ils furent rois toute toute une matinée où les tentures carminées se relevèrent sur les maisons, et toute l´après-midi, où ils sávancérent du côté des jardins de palmes.

Royalty

One fine morning, in the country of a very gentle people, a magnificent man and woman were shouting in the public square. “My friends, I want her to be queen!” “I want to be queen!” She was laughing and trembling. He spoke to their friends of revelation, of trials completed. They swooned against each other.

In fact they were regents for a whole morning as crimson hangings were raised against the houses, and for the whole afternoon, as they moved toward the groves of palm trees.

Source: Rimbaud, Arthur, and John Ashbery. Illuminations. New York: W.W. Norton, 2012, pp. 52-53.

‘Halo’ by Ailbhe Darcy

It was late last night the dog was speaking of me,
and the gulls speaking of me, out over the field.
You were drawing water from the tap in the kitchen
and a moth was speaking of me, beating for light.

I was raising delft from the sink to the aumbry,
while they spoke of you in loops, over the waves.
I reached for a switch; sunlight coalesced
about your reflection, helmet of bright coils.

Outdoors was a blankness peopled with black angles;
waiting for the water you caught your own glance.
My eyebrows bustled, you submersed in my dressed;
then you were speaking of me, just a word, in response.

All the dogs in America have sisters of their own,
all the birds have sisters, out on the highway.
Moths have moths for sisters, beating out for light,
and I am speaking of you here, to everyone I meet.

Source: Darcy, Ailbhe. Imaginary Menagerie. Tarset, Northumberland: Bloodaxe Books, 2011, p. 31.

‘American Sonnet for My Past and Future Assassin’ by Terrance Hayes

I only intend to send word to my future
Self perpetuation is a war against Time
Travel is essentially the aim of any religion
Is blindness the color one sees under water
Breath can be overshadowed in darkness
The benefits of blackness can seem radical
Black people in America are rarely compulsive
Is forbidden the only word God doesn’t know
You have to heal yourself to truly be heroic
You have to think once a day of killing your self
Awareness requires a touch of blindness & self
Importance is the only word God knows
To be free is to live because only the dead are slaves


Source: Hayes, Terrance. American Sonnets for My Past and Future Assassin, 2018, p. 79