1 Notes

Oh my pa-pa

Our fathers have formed a poetry workshop.
They sit in a circle of disappointment over our fastballs
and wives. We thought they didn’t read our stuff,
whole anthologies of poems that begin, My father never,
or those that end, and he was silent as a carp,
or those with middles which, if you think
of the right side as a sketch, look like a paunch
of beer and worry, but secretly, with flashlights
in the woods, they’ve read every word and noticed
that our nine happy poems have balloons and sex
and giraffes inside, but not one dad waving hello
from the top of a hill at dusk. Theirs
is the revenge school of poetry, with titles like
“My Yellow Sheet Lad” and “Given Your Mother’s Taste
for Vodka, I’m Pretty Sure You’re Not Mine.”
They’re not trying to make the poems better
so much as sharper or louder, more like a fishhook
or electrocution, as a group
they overcome their individual senilities,
their complete distaste for language, how cloying
it is, how like tears it can be, and remember
every mention of their long hours at the office
or how tired they were when they came home,
when they were dragged through the door
by their shadows. I don’t know why it’s so hard
to write a simple and kind poem to my father, who worked,
not like a dog, dogs sleep most of the day in a ball
of wanting to chase something, but like a man, a man
with seven kids and a house to feed, whose absence
was his presence, his present, the Cheerios,
the PF Flyers, who taught me things about trees,
that they’re the most intricate version of standing up,
who built a grandfather clock with me so I would know
that time is a constructed thing, a passing, ticking fancy.
A bomb. A bomb that’ll go off soon for him, for me,
and I notice in our fathers’ poems a reciprocal dwelling
on absence, that they wonder why we disappeared
as soon as we got our licenses, why we wanted
the rocket cars, as if running away from them
to kiss girls who looked like mirrors of our mothers
wasn’t fast enough, and it turns out they did
start to say something, to form the words hey
or stay, but we’d turned into a door full of sun,
into the burning leave, and were gone
before it came to them that it was all right
to shout, that they should have knocked us down
with a hand on our shoulders, that they too are mystified
by the distance men need in their love.

By Bob Hicok. Published in Poetry, May 2007.

(Source: poetryfoundation.org)

Notes

Poet of the Day: Frank Bidart
Frank Bidart has a way with dramatic monologue poems, unlike any other poet that I’m aware of. In fact, James Franco has made a short film based on his poem, “Herbert White.” Not sure where I can see this piece, but I’d love to, if anyone has suggestions on where to find it.
Two poems I’ve picked for you today are some of Bidart’s quintessential pieces, and though they’re a little long, both are fantastic reads. The first poem is the aforementioned “Herbert White,” about a psychopathic child-killer and necrophiliac. The second poem is called “Ellen West” and is about a woman with anorexia. Both poems are grave insights into human nature. Enjoy.

Poet of the Day: Frank Bidart

Frank Bidart has a way with dramatic monologue poems, unlike any other poet that I’m aware of. In fact, James Franco has made a short film based on his poem, “Herbert White.” Not sure where I can see this piece, but I’d love to, if anyone has suggestions on where to find it.

Two poems I’ve picked for you today are some of Bidart’s quintessential pieces, and though they’re a little long, both are fantastic reads. The first poem is the aforementioned “Herbert White,” about a psychopathic child-killer and necrophiliac. The second poem is called “Ellen West” and is about a woman with anorexia. Both poems are grave insights into human nature. Enjoy.

Notes

Robert Bruce: Talking Show #43

Quicktime link. One of his most honest podcast episodes yet. Great poem.

33 Notes

Combinatorics

bobulate:

The divide between poetry and science isn’t as wide as one might think. In the 1700s certain poems had inherent scientific messages:

[T]he point of poetry was pattern; to use a strict structure of rhythm and rhyme as a framework for words of passion or pedantry that would become fixed in a reader’s brain.

In other words:

Poetry … is mathematics. It is close to a particular branch of the subject known as combinatorics, the study of permutations — of how one can arrange particular groups of objects, numbers or letters according to stated laws. …. As in a great poem, hidden within that elegant structure are deeper truths that touch on apparently unrelated things; on fractal patterns, on the theory of numbers, on primes, and of complexities too deep to be accessible to mere mortals untrained in the mathematical art.

There’s something deeply appealing about these frameworks revealing truths beyond those we can see or feel. I like how Robert Frost put it: “Poetry without rules is like tennis without a net.”

[Image: Best known is “The Loves of the Plants,” by Erasmus Darwin, who in 1791 set out in verse an account of the sexual habits of the vegetable world. He used heroic couplets, in which the rhyme pattern is AA, BB, CC and so on…” [via]

Notes

Trying to Get Through

I make a knife of words.
I sit here waiting.
I play with crumbs.

Her eyes that should look
straight at me are
toward the window, glazed—
husband’s horizon?

Not armored. Only armed
with pots and pans.
Not out of arm’s reach,
beyond curtains of doorbells,
garden gates.

She puts up ironwork
in her eyes; it draws a bolt
over what’s real—
then looks at me.

I wish I’d brought my saw.

by Eleanor Ross Taylor

(Source: poetryfoundation.org)