Something new up at Berfrois. In which we argue for the power of the napkin poem! If yr sitting out with a cup, give it a read?
In my essay put up by Berfrois this morning on variations on a theme of Li Po, a notebook of poems I’ve been working on for years, originally suggested by my reading and writing experience with my former student Florence, I make reference to a few books she gave me. Below, I’ve posted some pics of the books, which I still have in my library. Among her many experiences Florence shared with me, she told me that she and her husband had fought with the resistance in the mountains of the Philippines in World War Two.
Florence was an excellent cook. Each quarter, my classes devoted an entire period to a potluck meal to celebrate the closing of the term. Recipes learned in kitchens around the world ended up on my classroom tables for our refugee feasts.
Travel over to Berfrois to have a look at the essay on Li Po’s poem.
Is poetry a sturdy platform for political action? Aren’t poets the ones following rabbits down holes? Jumping into ponds to hug moons? Talking blather and twittering sentiments to one another across an inky night? Politicians often twist tongues, glossolalia filling their cheeks, but what they speak is not usually considered poetry.
“Poets for Corbyn,” another e-chapbook from Berfrois, features 21 poems by 20 poets, edited by Russell Bennetts. The poems are unified by their support for Jeremy Corbyn (1949), a member of the UK parliament and of the Labour Party, and currently standing to be Labour’s Leader. US readers might be accurate in aligning Corbyn with their own Bernie Sanders.
Mixing poetics and politics reminds me of the note Woody Guthrie taped to his guitar in 1943: “This Machine Kills Fascists.” If music and culture critic Greil Marcus is right, and the guitar is not a machine and it does not kill fascists, then poetry is not a fit medium for political activism. But why does Marcus take Woody’s note so literally? Guthrie knew the difference between figurative and literal language, but he also knew that even the white lettered on red background STOP sign is an argument, even if only occasionally a driver passes through it with some disagreement.
Maybe one of the most politically effective signifying messages in “Poets for Corbyn” is Nick Telfer’s “For the Love of God.” A concrete poem, it evokes a rally chant where we hear the single slogan “No Blair” shouted repeatedly, 21 times in a black and white grid: noblair; no noblesse – shares of rights and duties are equal.
That Woody labeled his guitar a machine is more than a nod to labor and unions. Woody was a machinist, manufacturing messages in song – in song because song is what people (as in The People) hear and respond to and remember. And song is poetry. Poetry stirs pathos, and it’s pathos that gets politicians elected, pathos that goes to war, pathos that sacrifices, pathos that bangs the drum slowly and paddles the boat and joins the march and walks down the line.
How do the poems in “Poets for Corbyn” sound? What forms are employed? What characteristics of poetry are in evidence? Are the poems difficult to understand (i.e. modern or postmodern and such)? Are the poems all polemical?
Some of the poems might be considered polemical. From Michael Rosen’s “For Jeremy Corbyn”:
“celebrating an economic system
that was developed and finessed
with the use of child labour around 1810
…they tell us that socialism is outdated.”
Some of the poems sound traditional, employing stanzas with rhyme, as in Michael Schmidt’s “Until I Built the Wall,” a kind of ballad narrative:
“Until I built the wall they did not find me
Sweet anarchy! tending quietly
To wild birds or picking the blackberry.”
Some of the poems in “Poets for Corbyn” are clear and concise, but with irony spreading like tattoos, as in Helen Ivory’s “Doll Hospital at the Top of the Hill”:
“Take her to the doll hospital;
restring the limbs with slipknots
fill the skull with lint
clean out the craze lines on her face
and paint on a 1940s smile.”
Some of the poems are painfully forthright. Reminding me of the ruined hopes of George McGovern’s 1972 US Presidential campaign, is Andy Jackson’s “Unelectable”:
“I represent the things you want but cannot say,
the ideology of why the hell not; socialism redux,
neither new nor old, not clean or compromised
but human to its heart, and that could be enough.”
Of course, in 1972, the human heart was not enough. Will it ever be enough? A heart needs a voice, as illustrated in Nicholas Murray’s “J. C.”:
“Corbyn’s no knight in shining vest,
or bright Messiah from the West
but someone who has found a way to voice
a fractured country’s need for choice,
to say we’ll make another kind of noise:
That “No way!” is a call for solidarity, expanded upon in Erik Kennedy’s (long-titled) “Growing Fears That the Leadership Contest Has Been Hijacked by Far-Left Infiltrators”:
“and if in your entire life
no-one to identify with
who wasn’t first and last
a danger to the good
through well-meaning compromise,
if you can agree to this,
resignedly but definitely,
you might be a socialist.”
The austerity buzzword is taken down by Becky Cherriman’s “Austerity”:
“Hear it scutter
along the guttering of offices
in the bins behind Waitrose,
the thorned bushes at the playground’s edge –
a language devised by the high-born
to parch the lips of those with less.”
In place of austerity, Josephine Corcoran suggests a “Coat” of hope:
“A woman filled with the gladness of living
refused to be suspicious of hope….
Deep inside the coat,
the woman held on to the goodness of people.”
And of opposing viewpoints, the kind that lead to divorce? From Erin Belieu’s “Poem of Philosophical and Parental Conundrums Written in An Election Year”:
“And that’s what you call the realpolitik in action
when it comes to divorce, wherein the rubber hits
the ‘blended’ family’s road. But since I’m not…
…and I’m thinking
maybe I got it right this time…
…the obstinate and beautiful mystery
that every soul ends up being to every other.”
The poems in “Poets for Corbyn” are unified by their call for solidarity in support of a purposeful cause. For that call to be successful, the politics must not be subsumed by the poetics. There is tension here, no doubt. Woody’s machined message was made to defy backstabbing political machinations. At the same time, real machines made real weapons used in a real war, and a military industrial complex prevailed. But Woody knew that, even as Marcus does. “What did you learn in school today?” Tom Paxton sang.
Over at Berfrois, readers may download for free an electronic copy of “Poets for Corbyn.” There are several covers readers may choose from; I liked the one with the blue bicycle.
“Poets for Corbyn”, edited by Russell Bennetts, Pendant Publishing, London, UK, 2015. ISBN 978-09928034-5-2. V2.0. 34 pages, with poems by Tom Pickard, Michael Rosen, Pascale Petit, Ian Birchall, Michael Schmidt, Marion McCready, Nick Telfer, Rory Waterman, Helen Ivory, Iain Galbraith, Andy Jackson, Nicholas Murray, Alec Finlay, Erik Kennedy, Ian Pindar, Becky Cherriman, Josephine Corcoran, Natalie Chin, Ernest Schonfield, and Erin Belieu. Covers by Evan Johnston @evn_johnston.
The Toads post “Breaking Bad in Stromboli” was published today over at Berfrois. Turn off the internal infernal TV for a few minutes and click here to check out the hep stuff happening these days at Berfrois!
Are trees intelligent? We are how we define. In this week’s New Yorker (23 Dec), Michael Pollan takes a fresh look at the compare and contrast conversation over animal versus plant kingdoms: “The Intelligent Plant: Scientists debate a new way of understanding flora.”
At what cost do we hold the brain primary in a hierarchical view of consciousness, problem solving – in short, life? Picture two planets. On one, life forms with a torso and five appendages have evolved to invent marvelous technological tools, but the essential nature of the life form does not appear to have improved. Persuasion remains the name of the game. On the other planet, a similar life form appears to live in symmetry with the planet’s plants and animals (and, by extension, with one another), in a positive symbiotic relationship made possible by the nurturing of life sustaining partnerships and the recognition that all life contains the same kernel of consciousness, a kernel that may or may not be located in a central control system called a brain. But the artificial technology remains rudimentary. Is one planet smarter than the other?
In perhaps the most persuasive part of Pollan’s discussion, he asks, in response to the criticism that plants can’t think because they don’t have brains, no command center, where in the brain is the brain, where in the brain is this command center? It appears that the brain may function in much the same way as a plant’s root system.
Meantime, we celebrate Christmas with this more on trees photo gallery. Click on any pic to view the gallery.
“Ray, 1956” and “Watermarks from a Night Spring,” two poems with themes of the ocean, surfing, and working, were posted at Berfrois a couple of days ago, along with a few old surf photos.
Paddle on over to Berfrois and check out the surf poems.
And below find a gallery with more photos from the late 60’s thru mid 70’s. Most of these photos were taken with an Exakta 500 single-lens reflex camera (East German), with a 120 portrait lens, both purchased used and cheap to take surfing photos at local spots on Santa Monica Bay. Most are scanned from slides, Kodachrome or Ektachrome, and one is from a black and white print. The portrait lens was an affordable workaround at the time used as a kind of telephoto, and it worked ok. The camera was abused though, tossed in the sand, and over time the shutter began to stick. The photos starting coming out black. Some viewers may feel these the best photos. See etched drawing on one of the black slides. These are not “big” waves, and the surfers are locals, but the ocean is huge and alive and old and every morning new. Click any photo to see the gallery. And don’t forget to check out the poems.