Inside Li Po’s Restless Night at Berfrois

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.

On Jury Duty, Poetry Gaze, and Yu Xiang’s “I Can Almost See the Clouds of Dust”

In the Jury Assembly RoomAre you wearing metallic hairspray, metal flake rouge, wire under bra?

A beep enlivens the line. Boots is told to back up and come through again, but again the beep, and she’s told to take the boots off, the line alert to its slowness, more prospective jurors wanting into the foyer and out of the fog, the enormous oak door squeaking and letting in whisks of cold announcing a newcomer.

Are you wearing a hidden watch, steel mesh underpants?

No, no, but again the beep.

Boots takes off a vest and sends it through the scanner and walks silently though the screener.

Impolite beeps like embarrassing burps, almost everyone is caught surprised.

In orientation we learn a body of ennui weeps from the citizen soul, exudes from the body politic’s pores, but so far, the only claim supporting boredom comes from the introductory video. Still, one of the jury assembly room supervisors wittingly promises us boredom. But isn’t that what poetry is for, I wonder, a theory I soon begin to test.

The jury assembly room is now nearly full, around 150 prospective jurors; what are we doing? No one is chatting. Sleep impossible under the surgical lights. The long, narrow room is like the sundeck of an ocean liner sitting in port.

On the south wall of the room, facing the audience, is a large mural, bookended by flat-screen televisions, small and effete by comparison, the mural a colorful painting of a two-horse drawn chariot, one horse brown, the other blue, whip driven by a jester wearing a mask, and riding in the carriage, a kid playing violin, women looking up at trapeze artists swinging in the sky, a trumpet player, on the tailgate another jester – a tuba player in striped motley. An American flag blows from the rear bumper. Above and left of the chariot, a merry-go-round spins, to the right, a lighthouse stands at the end of a long, winding jetty, candy-cane red and white striped. On the horizon, white clouds whip along a deep blue, chatoyant, turning turquoise where the sea comes close to shore, the chariot hurling along a beach road, a border of green grass at bottom.

At break I take a closer look at the mural, signed “Arvie”: a panel painting, a pentaptych, three large middle sections and two smaller end sections. An information label reads, Arvie Smith, Youth in Detention, “There Are No Impossible Dreams,” 2010.

On the two television sets, almost no one seems to be watching, plays a morning cooking show, muted but with captions. What are we prospective jurors doing? Laptop computing, earphones plugged into cell phones, listening devices, reading, writing, trying to sleep, drinking coffee, eating snacks. No one is knitting (needles are disallowed).

I get up and take a little walk. We are five rows deep times 30 or so seats to a section, about five sections, a few couches and tables at the far west end, then the bathrooms, a row of laptop stations at the east end, a small kitchen area with a microwave, filtered water, a pop machine, a candy machine, a bulletin board. Outside the kitchen are four, wall-size bookshelves courtesy the County Library.

I reach in my bag and pull out Yu Xiang’s book of poems titled “I Can Almost See the Clouds of Dust” (Zephyr Press, 2013, 151 pages). There are ten sections, 44 poems, most confined to one page, with several longer poems, five notes, with an introduction by the translator, Fiona Sze-Lorrain, “Paris, France – July 2011.”

I look at the first poem, titled “My House,” and enjoy the Chinese original on the facing page. Unable to read the Chinese, I look for characters that repeat, a stranger in a strange land. The English version is also 25 lines, a single, narrow, column-like stanza. The lines don’t rhyme. Words bounce down the page like an oblong stone kicked down a sidewalk. The images are clear. There’s a reference to “Pedro Paramo,” and the last line, in French, repeats the title of the poem. So that’s how it is, a you and an I. Who is you, and who is I, and who is Pedro Paramo? And whose house is this, yours or mine? Yet this poem does not ask questions; it gives answers, as a home speaks, even to a stranger.

The next poem is titled “Street.” So we move from the house to the street. There are three stanzas: 5 lines, 6 lines, 3 lines, one that sings:

“we drink beer, peel edamame”

“Street” ends on a note of love.

Most cases settle before juries are called. Court is expensive.

It’s a wonderful mural, full of color moving across the wall like a screen in a movie theatre, the jury assembly audience as still as popcorn in a cardboard box. Suddenly, though not entirely unexpectedly, we are dismissed for the day.

Jury Duty, Day Two. The mental note I made yesterday to bring a pair of sunglasses today failed. The library-bright lighting hums from the courthouse-high ceiling. I read an essay in the Philip Lopate book, discussing the rhetorical basis of the personal essay. Every text is an argument, Trilling argued. I’m ready for a break already; arguments about argument have lost their allure. I look around at my jury peers. One of my neighbors, Ursula, is eating a banana. Another, Penelope, appears asleep behind sunglasses. I don’t really know their names, nor have I spoken to them. I give them names suggested by the books they are reading. I think of getting up and walking about, but I don’t. I’m sleepy. At break, I go into the hall and buy a cup of coffee from the busy kiosk.

I’m sitting in the back row again, mural right. None of these chairs is anchored to the deck. Hopefully the seas will stay calm. The television plays a piece on the Portland Bridal Show, a silent movie. I put the Lopate back in my bag and take out the Yu Xiang, which I’m now reading for the third time in a week. A young woman a few seats away is reading sheet music, a musician, it seems fair to conclude, as I warm up for a case. I return to my Yu Xiang book of poems. But somehow seeing the girl with the sheet music has made Yu Xiang seem so distant, and China and poetry so complicated. I text Susan, no answer. The jury room supervisors call a break. Good, I’m exhausted from the Lopate. I get up and move about. No one is talking in the jury waiting room, no conversations, more quiet than a library, an odd silence, given the size of the waiting crowd. I remember another jury duty I served, some years ago, when the room bustled with games and conversations. Citizens today are electronically put to sleep.

My name is called and suddenly I’m on a case. I finish the orange I brought from home. The adrenalin kicks in, from the orange or from being called, I’m not sure, but I feel awake, alert, refreshed, and healthy.

I make it through the selection process with 14 of my peers (12 + three alternates). The case begins. Judge Franklin Mahon Coughca provides an overview and instructions. The prosecutor explains the dispute: a poet is accused of writing wrong poems.

The defense doesn’t take long, in essence, “so what?” I’m inclined to agree, but I remember my duty and try to be impartial and unbiased and all that. I want to hear what the jury of my peers thinks.

The jury deliberates:

The twelve jurors: a Waitress; a Plumber; a Bassoonist; a Car Wash Attendant; Penelope; a Receptionist; a Care Giver; a Hairdresser and Masseuse; an Architect’s Assistant; a Bank Teller; a Computer Programmer; a Street Sweeper – plus three alternate jurors, a gas station attendant, a financial analyst, and a blogger.

As it turned out, I’m only an alternate juror, but on the strength of my being a blogger, I’m asked to volunteer to take notes.

from my Notes:

Yu: Are there any dogs in his poems, apartments and balconies, flies? These things are all elements of an engaging poem.

Ursula: Some of these words appear to be spelled backwards. What’s that called?

Care Giver: Is there a woman converging the real with the imagined?

Penelope: Is there a water closet?

Computer Programer: Is there a business side?

Bassoonist: Is there music?

Receptionist: I hate poetry, always have. What’s the point? If you have something to say, say it, in as few words as possible, and clear, so everyone can understand exactly what you mean, and then shut the hell up.

Hairdresser and Masseuse: Well, but poetry is like art, I mean, isn’t it? Isn’t there always like some secret message, some code, like a moral to the story?

Car Wash Attendant: This one looks like a sign of some kind, like telling people which way to go, you know?

Computer Programmer: If you think about it, there’s only letters and spaces. That’s it, that’s all there is to it. Case closed.

Waitress: But they’re not all the same size.

Architect: I think all of these poems are wrong. I say he’s guilty and let’s go home.

Plumber: Maybe we should read some of these poems out loud.

Computer Programmer: I always thought poems were supposed to rhyme until I met my wife.

Architect: Poems can rhyme or not rhyme. That’s what I don’t get. How do you know if it’s even a poem? Could be some sort of laundry list or grocery list or something. You know what the problem with poets is? They don’t make anything.

Yu: We must look for keys and keyholes, and personal pronouns strewn in shredded syntax.

Street Sweeper: Did the poetry police not violate his rights?

Yu: This is my body.

Penelope: These appear to be poems of procedural polity.

Ursula: There’s a bit of rhyme, punctuality, is that what it’s called? The words have sound.

Bassoonist: They look ritually safe to me.

Penelope: A poet should be culturally accountable.

Waitress: I knew a poet once. He was one of these guys always taking pictures of his food with his cell phone. I guess he published the pictures online or something like that. And the poems were like captions or something, you know? Like subtitles. To the photos. I don’t know. He seemed like a nice guy.

Yu: Do you take this wolf to be your wife?

Plumber: I do. I mean, I would, if I could.

Ursula: One might as well ask about law and order on a different planet. I don’t understand how they could not have resolved this dispute out of court.

Bassoonist: But that’s neither a question nor an answer, not much of an argument.

Yu: That’s an interesting sentence.

The Verdict: The jury finds the poet innocent, but nevertheless he’s sentenced by Judge Coughca to 1,000 years of community service, to be served as an adjunct instructor of the research paper, with no hope for tenure.

The judge thanks the jury for its service, and we walk back down to the silence and security of the jury assembly room.

I take the Yu Xiang from my bag. I’m thinking of poetry gaze. In a land where poetry has been devalued beyond zero, isn’t every poem a sigh of dissentire? What is poetry gaze? I feel like Yu Xiang is watching me reading her poems. But she does not care what I think, nor even what I might be feeling. Then again, her poems are like

…a door that says:
Be careful! You might lose your way”

(Yu Xiang, from “I Have, 2002,” p. 67)

+++

Eleanor Goodman interviews Yu Xiang.

Yu Xiang talks about her writing in a dialog (In Search of a Transient Eternity: Chinese Poet Yu Xiang BY Fiona Sze-Lorrain & Yu Xiang) at Cerise Press.

“The Works of Li Po The Chinese Poet: Done Into English Verse”

At the Rose City Used Book Fair yesterday, amid a bevy of well organized and decorous book nests, I bought another book of poems by the Chinese poet Li Po. According to the version scanned into Google Books, there were only 1,500 copies printed of the 1922 first edition.

My copy contains a “Note to the Orient Edition,” signed S. O., and dated Tokyo, November 3, 1935. The note reads, in part, “I have resisted the temptation to make revisions for the purpose of forestalling the charge of inaccuracy that may be raised by the Oriental reader. I firmly believe that my methods of translation described in the preface are well-suited to a work of this kind, which is primarily intended not for scholarly exactitude but for the poetic appreciation and enjoyment” (xi).

The note explains the title page, “The Works of Li Po The Chinese Poet: Done Into English Verse By Shigeyoshi Obata.” While the cover of the book reads “Translated into English Verse…” the sub-title on the title page, reading “Done into English Verse…,” suggests a purpose often at odds with scholarly or academic writing about literature. Obata wanted to produce something for reading pleasure. Yet there’s plenty here for the scholarly curious, including biographical notes and a bibliography showing where the reader will find other translations of the poems.

And what a pleasure Li Po is. I’ve been opening pages at random to the poems. Here’s one appropriate for this post, for I plan to read Li Po through our late spring and into summer, when I’ll hang my straw hat on a branch and let the afternoon breeze cool the curls of my hairy mind:

“A Summer Day

Naked I lie in the green forest of summer….
Too lazy to wave my white feathered fan.
I hang my cap on a crag,
And bare my head to the wind that comes
Blowing through the pine trees.”

The jacket flap of my copy explains that it is “…an unabridged reprint of the famous edition first published in Tokyo in 1935.” I’ve not found an image of my cover in a couple of cursory searches. It’s a hardback, no markings in the book, very good condition, the jacket cover in excellent condition all around. There is a signature in black fountain pen at the top of the map of China that lines the inside cover. The signature reads “Joseph,” but the last name I can’t make out. There are then, in the same black ink fountain pen, three vertically drawn characters in the upper right hand corner, falling between Manchuria and a unified Korea.