Showing posts with label Sylvia Plath. Show all posts
Showing posts with label Sylvia Plath. Show all posts

Friday, December 10, 2010

Submission to M.P.

below are two poems I submitted to a small press in Port Townsend, WA, where I lived for 2.5 years. "Someday" contains a minor revision:


Someday

What does it mean,
to you, she asks?

This reading into
you always do?

I'd been obsessed
with eternal return;
the idea came to me--
overwhelmed,
I stared into the uncanny,
swirling void,
before I knew there were words,
before I knew
I was not alone
there.

What does it mean?
Why the pursuit?

It doesn't mean anything,
but mind games,
and perhaps a little comfort
before I go to bed at night,
like warm milk and Valerian root,
or the prayers I would say as a boy
to that bearded thing--
and the ritual that went with it,
to fight off imagined hordes
of crawling insects
swelling up from the basement,
racing towards my bedroom:
to swallow me up and drag me
back with them, the rustling crunch
beneath me.

Just a little bit
before we sleep.

She's ok with neurons and chemistry;
I need this sacred geometry:
imagined circles
upon circles,
looping ever forward:
an expanding universe,
collapsing into itself
to expand again,
and so it goes.

I jump in memory time,
in backward loops
like Billy Pilgrim
only more mundane.

I have no other worlds to visit,
no future mes to see.
Only this life,
stretching backwards behind me,
a string from my birth,
I gather up from time to time,
and visit different spots along the way.

But more than that,
the chance to live again,
this self same life,
but better
bit by bit,
a little better.

I want to make a contribution
to the canon,
and someday will,
given my midnight
thought experiments;
but for now,
I don't have the vision for poems,
or the toughness for prose.

And problems arise,
as they are wont--
if I improve,
wouldn't everyone else,
with more to give
and more to see?
The mystics and visionaries,
the prophets and poets
and painters and saints?

But someday,
when Plath and Sexton haven't killed themselves,
when Kurt and Ernest don't put guns in their mouths,
when Fitzgerald doesn't drink himself to death,
when Hitler is nothing but a doddering old man
in threadbare pajamas muttering absurdities
to anyone who would listen (but no one does),
maybe then I'll find the poem inside,
give voice to it,
set it free.

Columbus

Tabonuco,
bought at the Bear Mountain Pow-wow
from the single Taino booth,
first thing I smelled,
that sweet wafting resin,
carried on the wind,
drawing me in.

Tabonuco
burnt in clay pots
as tribute to a past
I can't remember.

In the rain,
in Harriman,
I read about Columbus
and his account
of my people
as gregarious
as joyful
as generous.

So generous, in fact,
that his demands for tribute unmet,
he cut off their hands,
left them to bleed out
on the jungle floor.

We disdain Columbus
for what he did
to the North American Continent,
this half truth shared in classrooms,
forgetting
it wasn't the red man
but the brown
that Columbus first broke,
that joyful people
with insufficient offerings
and no longer hands
for giving.

I share those bloodlines:
my parents met, dated, married
in the Bronx,
like Sharks and Jets.

Tabonuco,
burnt in clay pots,
in tribute 
and mourning,
for a past I can’t remember.

Raised eating pasta
and red sauce,
sfogiatelle and crown roast
at Christ's Mass,
my white skin,
and the arias
that would float through our home
so many evenings.

Forgetting
an incompatible legacy,
that burns inside.

Wednesday, December 8, 2010

Submission to Autumn Sky Poetry

The following poems have been submitted to a neat online journal, "Autumn Sky Poetry"; They contain minor revisions for those interested.


Your English Background

You, the land.
Razed and plowed,
deep furrows running through
where forest once stood.

And now, again,
second growth,
in scattered poles,
bracken, peat and bog,
high winds of highlands.

You bear the heft
of Sarsen,
dragged across the windy plain,
land shaped like blue stone,
bit by bit
until

having chipped away,
the edges no longer sharp
but shorn by patient hands,
you give witness,
watchman like,
ghastly Cerberus,
Avon, Lethe or Styx,
no matter:

You,
this foreign land.

Shaped by man,
reclaimed at last,
sprung
from your forever womb.


The Gift

I am everything
inside this box,

felt lined,
blood red.

Lacquered mahogany,
fancifully etched

by some careful hand
with images of swirling demons

beneath
a veil of mist.

You have the key,
but you dare not open the box.

You the disease,
You the cure.

Pandora,
I am what's inside.

But you can not look;
only cherish this box:

intricately carved,
polished, finished to a high gloss

that blood red hinting
at depths and depths.

You have the key;
you have the box.

I am inside--
patience.

You, the disease.
You, the cure.

Hope
is what's left behind.

Sylvia

Sylvia Plath,
I went in for Ariel,
but the copy in stock was hardcover, glossy,
and there next to it were your collected works,
1956-1963,
poems you’d written right up until that final cold February,
just days before my birthday,
that you stuck your head in the oven.

You were thirty. 
You had two children.
Your husband left you for another woman
because you couldn't fix yourself
and when she couldn't fix herself 
he didn't leave
but she went out
in a similar manner.

I try to calculate how may poems you wrote
between twenty six and thirty one
and how many I've written up to now,
and how they’d stack up.

I wonder at the backhanded compliments I’ve received over the years:
from Devon, “Chris could cook circles around you,
but he’s unreliable. I need someone I can count on.”

Ted Hughes said Sylvia never scrapped a poem once written.
She approached her writing with an artisan dedication--
if she couldn't make a table, she’d settle for a chair,
an ottoman, an end table. Sylvia Plath?

What does that leave me?
Poems like whittled spoons for stirring beans over camp fires?
Bent brass door handles fitted over the steel drum body of a bullet smoker?
Glued together mugs full of pencils and wooden beads,
an old triumph badge and bent safety pins?

I might as well stick my head in an oven at that rate.
Just to see, of course--they’re all electric anyway.
It’s my vanity that keeps me from the full go--
is there any dignified way?
Chicken legs at obscene angles, half in half out the oven door?
The crushing splay of rushing pavement and the gawking crowds?
The liquid evacuation following the kicked out chair?
The choking blue, the foaming mouth, the aspiration of vomit?

No, no, 
I won’t be convinced--
just stick to silly love poems,
free form literalism 
and call it a hobby.

Nevermind.
A drop in the ocean
with no room for more.

Sundries

The orchid on the table is dying;
shriveled leaves curling back into itself.

Someone could have changed the water,
but there were other things to attend to:

the dishes in the sink, for instance.
The hairball in the middle of the bedroom.

Visiting friends in the country,
and wondering at the lack of clutter in their homes:

"They have more space," I said.
and I meant it then, but now wonder.

We could have that space, if we wanted it.
but there is a pushing against,

and the space between
can not be filled.

Things are crowded out,
little things--

the pile of clothes at the foot of our bed,
the flower, curled and dry on the table.

Longing to be filled,
we push towards each other,

only to be repelled
by the space between.

The orchid on the table is dying.
who will take care of it this time?

Thursday, December 2, 2010

Someday

Slight revision given a comment; I think rearranging the stanzas helps a little bit.

Someday

What does it mean,
to you, she asks?

This reading into
you always do?

I'd been obsessed
with eternal return;
the idea came to me--
overwhelmed,
I stared into the uncanny,
swirling void,
before I knew there were words,
before I knew
I was not alone
there.

What does it mean?
Why the pursuit?

It doesn't mean anything,
but mind games,
and perhaps a little comfort
before I go to bed at night,
like warm milk and Valerian root
or the prayers I would say as a boy
to that bearded thing
and the ritual that went with it,
to fight off imagined hordes
of crawling insects
swelling up from the basement
racing towards my bedroom
to swallow me up and drag me
back with them, the rustling crunch
beneath me.

Just a little bit
before we sleep--
we see them everywhere,
the patterns that we want to,
and dismiss the data that doesn't fit.

She's ok with neurons and chemistry;
I need this sacred geometry:
imagined circles
upon circles,
looping ever forward:
an expanding universe,
collapsing into itself
to expand again,
and so it goes.

I jump in memory time
in backward loops
like Billy Pilgrim
only more mundane.
I have no other worlds to visit,
no future mes to see.
Only this life,
stretching backwards behind me,
a string from my birth,
I gather up from time to time,
and visit different spots along the way.

But more than that,
the chance to live again,
this self same life,
but better
bit by bit,
a little better.

I want to make a contribution
to the canon,
and someday will,
given my midnight
thought experiments;
but for now,
I don't have the vision for poems,
or the toughness for prose.

and problems arise,
as they are wont--
if I improve,
wouldn't everyone else,
with more to give
and more to see?
The mystics and visionaries,
the prophets and poets
and painters and saints?

But someday,
when Plath and Sexton haven't killed themselves,
when Kurt and Ernest don't put guns in their mouths,
when Fitzgerald doesn't drink himself to death,
when Hitler is nothing but a doddering old man
in threadbare pajamas muttering absurdities
to anyone who would listen (but no one does),
maybe then I'll find the poem inside,
give voice to it,
set it free.

Wednesday, December 1, 2010

Someday

What does it mean,
to you, she asks?

This reading into
you always do?

I've been obsessed
with eternal return:
ever since I got stoned one day,
and convinced that I had been there
but before I did enough googling
to find a word for what I'd seen.

What does it mean?
Why the pursuit?

It doesn't mean anything,
but mind games,
and perhaps a little comfort
before I go to bed at night,
like warm milk and valerian root
or the prayers I would say as a boy
to that bearded thing
and the ritual that went with it,
to fight off imagined hordes
of crawling insects
swelling up from the basement
racing towards my bedroom
to swallow me up and drag me
back with them, the rustling crunch
beneath me.

Just a little bit
before we sleep--
we see them everywhere,
the patterns that we want to,
and dismiss the data that doesn't fit.

She's ok with neurons and chemistry;
I need this sacred geometry:
imagined circles
upon circles,
looping ever forward:
an expanding universe,
collapsing into itself
to expand again,
and so it goes.

I jump in memory time
in backward loops
like Billy Pilgrim
only more mundane.
I have no other worlds to visit,
no future mes to see.
Only this life,
stretching backwards behind me,
a string from my birth,
I gather up from time to time,
and visit different spots along the way.

But more than that,
the chance to live again,
this self same life,
but better
bit by bit,
a little better.

I want to make a contribution
to the canon,
and someday will,
given my midnight
thought experiments.

But problems arise,
as they are wont--
if I improve,
wouldn't everyone else,
with more to give
and more to see?
The mystics and visionaries,
the prophets and poets
and painters and saints?

I don't have enough
vision for poem,
or toughness for prose.

But someday,
when Plath and Sexton
haven't killed themselves,
when Kurt doesn't put the gun in his mouth,
when Fitzgerald doesn't drink himself to death,
when Hitler is nothing but a doddering old man
in threadbare pajamas muttering absurdities
to anyone who would listen (but no one does),
maybe then I'll find the poem inside,
give voice to it,
set it free.

Friday, November 26, 2010

Sylvia

Sylvia Plath,
I went in for Ariel
(which I had owned at one point,
from the Strand, a four dollar copy
same as The Wasteland which I’d
bought around the same time).
The copy in stock was hardcover, glossy,
but there next to it were your collected works,
1956-1963,
poems you’d written right up until that final cold February
just days before my birthday that you stuck your head in the oven.

You were thirty.
You had two children.
Your husband left you for another woman
because you couldn’t fix yourself
and when she couldn’t fix herself
he didn’t leave but she went out
in a similar manner,
no doubt inspired by the precedent you’d set.

I try to calculate how may poems you wrote
between twenty six and thirty one
and how many I’ve written up to now
and how they’d stack up
and wonder about my failure of imagination
desperate for images less literal,
trying to build a mythology to stand the test of time,
the classroom analysis,
worthy of footnotes.

I wonder at the backhanded compliments I’ve received over the years:
from Devon, “Chris could cook circles around you,
but he’s unreliable. I need someone I can count on.”

Ted Hughes said Sylvia never scrapped a poem once written.
She approached her writing with an artisan dedication--
if she couldn’t make a table, she’d settle for a chair,
an ottoman, an end table. Sylvia Plath?

What does that leave me?
Poems like whittled spoons for stirring beans over camp fires?
Bent brass door handles fitted over the steel drum body of a bullet smoker?
Glued together mugs full of pencils and wooden beads,
an old triumph badge and bent safety pins?

I might as well stick my head in an oven at that rate.
Just to see, of course--they’re all electric anyway,
but it’s my ego that keeps me from the full go--
is there any dignified way to go out?
Chicken legs at obscene angles half in half out the oven door?
The crushing splay of rushing pavement and the gawking crowds?
The liquid evacuation following the kicked out chair?
The choking blue, the foaming mouth, the aspiration of vomit?

No, no,
I won’t be convinced,
just stick to silly little love songs,
free form literalism
and call it a hobby.
Nevermind.
A drop in the ocean
with no room for more.