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Archive for the ‘poem of the day’ Category

Ceriserie

Music: Sexual misery is wearing you out.

Music: Known as the Philosopher’s Stair for the world-weariness which climbing it inspires. One gets nowhere with it.

Paris: St-Sulpice in shrouds.

Paris: You’re falling into disrepair, Eiffel Tower this means you! Swathed in gold paint, Enguerrand Quarton whispering come with me under the shadow of this gold leaf.

Music: The unless of a certain series.

Mathematics: Everyone rolling dice and flinging Fibonacci, going to the opera, counting everything.

Fire: The number between four and five.

Gold leaf: Wedding dress of the verb to have,it reminds you of of.

Music: As the sleep of the just. We pass into it and out again without seeming to move. The false motion of the wave, “frei aber einsam.”

Steve Evans: I saw your skull! It was between your thought and your face.

Melisse: How I saw her naked in Brooklyn but was not in Brooklyn at the time.

Art: That’s the problem with art.

Paris: I was in Paris at the time! St-Sulpice in shrouds “like Katharine Hepburn.”

Katharine Hepburn: Oh America! But then, writing from Paris in the thirties, it was to you Benjamin compared Adorno’s wife. Ghost citizens of the century, sexual misery is wearing you out.

Misreading: You are entering the City of Praise, population two million three hundred thousand . . .

Hausmann’s Paris: The daughter of Midas in the moment just after. The first silence of the century then the king weeping.

Music: As something to be inside of, as inside thinking one feels thought of, fly in the ointment of the mind!

Sign at Jardin des Plantes: games are forbidden in the labyrinth .

Paris: Museum city, gold lettering the windows of the wedding-dress shops in the Jewish Quarter. “Nothing has been changed,” sez Michael, “except for the removal of twenty-seven thousand Jews.”

Paris 1968: The antimuseum museum.

The Institute for Temporary Design: Scaffolding, traffic jam, barricade, police car on fire, flies in the ointment of the city.

Gilles Ivain: In your tiny room behind the clock, your bent sleep, your Mythomania.

Gilles Ivain: Our hero, our Anti-Hausmann.

To say about Flemish painting: “Money-colored light.”

Music: “Boys on the Radio.”

Boys of the Marais: In your leather pants and sexual pose, arcaded shadows of the Place des Vosges.

Mathematics: And all that motion you supposed was drift, courtyard with the grotesque head of Apollinaire, Norma on the bridge, proved nothing but a triangle fixed by the museum and the opera and St-Sulpice in shrouds.

The Louvre: A couple necking in an alcove, in their brief bodies entwined near the Super-Radiance Hall visible as speech.

Speech: The bird that bursts from the mouth shall not return.

Pop song: We got your pretty girls they’re talking on mobile phones la la la.

Enguerrand Quarton: In your dream gold leaf was the sun, salve on the kingdom of the visible.

Gold leaf: The mind makes itself a Midas, it cannot hold and not have.

Thus: I came to the city of possession.

Sleeping: Behind the clock, in the diagon, in your endless summer night, in the city remaking itself like a wave in which people live or are said to live, it comes down to the same thing, an exaggerated sense of things getting done.

Paris: The train station’s a museum, opera in the place of the prison.

Later: The music lacquered with listen.

-Joshua Clover

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Etre Avoir

To be so tired as to sleep on a pin
To be so tired that you can’t let it in.

To be lost in a gaffe from 1909
To be soif de le chaffe
To be quartered behind

To be honored by Balzac
or a similar name
To be close on the heels
Of the subtle of fame

To be hard on decisions
And soft on your feet
To bear yourself out of boredom
and the septically sweet

To be always in reunion
With all the world’s suns
A stared-down communion
with echoing rungs

And to be, today, asking,
the rungs to relax
To have health, to have help,
And simply, to have.

-Nina Alvarez

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The more bored I became

with my unacceptable person,

the more I returned to the theme of my person;

worst of all,

I kept painting myself to myself

in the midst of a happening.

What an idiot (I said to myself

a thousand times over) to perfect all that craft

of description and describe only myself,

as though I had nothing to show but my head,

nothing better to tell than the mistakes of a lifetime

Tell me, good brothers,

I said at the Fisherman’s Union,

do you love yourselves as I do?

The plain truth of it is:

we fishermen stick to our fishing,

while you fish for yourself (said

the fishermen): you fish over and over again

for yourself, then throw yourself back in the sea.

-by Pablo Neruda

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Anselm Kiefer

 

The woman thinks of

Straw, ash, clay, lead, and shellac

the milky dust that clings to a hand

As it paints furrows in a bohemian landscape

 

He readies the milk-mud for a canvas

half the size of her vision

 

and without knowing anything else

she has seen him in New York

London, Paris, Berlin,

Sometimes in a small screen

 

But often enough in a white room

A perfect square of some autumn field

Cut and carried and burned with something

she had meant to say.

-Nina Alvarez

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Since I posted the poem Ithaca by C.P. Cavafy in May 2007, it has been the most sought after and most read poem on this site, garnering 1,720 views. Karl Mikelsons just wrote in to the comments section of the posting and pointed me to this fantastic reading of the poem by Sean Connery.

Only one year ago I was working at a job that felt like dying. My dear friend Anders Hansen, a Philadelphia artist sent me the poem and I immediately fell in love with it. As many of you have as well. It helped me keep a sense of perspective as I grappled with the “Lestrygonians” of my daily existence.

This year I found the perfect job and just spent the whole summer traveling through Europe and opening myself up to the journey. Once again, Ithaca reminds me on how best to go through the world, literally and metaphorically.

Enjoy the video!

The link to the original posting.

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Aubade: Lake Erie

When sun, light handed, sows this Indian water

With a crop of cockles,

The vines arrange their tender shadows

In the sweet leafage of an artificial France.

Awake, in the frames of windows, innocent children,

Loving the blue, sprayed leaves of childish life,

Applaud the bearded corn, the bleeding grape,

And cry:

“Here is the hay-colored sun, our marvelous cousin,

Walking in the barley,

Turning the harrowed earth to growing bread,

And splicing the sweet, wounded vine.

Lift up your hitch-hiking heads

And no more fear the fever,

You fugitives, and sleepers in the fields,

Here is the hay-colored sun!”

And when their shining voices, clean as summer,

Play, like churchbells over the field,

A hundred dusty Luthers rise from the dead, unheeding,

Search the horizon for the gap-toothed grin of factories,

And grope, in the green wheat,

Toward the wood winds of the western freight.

-Thomas Merton

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Venus and Adonis [But, lo! from forth a copse]
But, lo! from forth a copse that neighbours by,
A breeding jennet, lusty, young, and proud,
Adonis' trampling courser doth espy,
And forth she rushes, snorts and neighs aloud;
     The strong-neck'd steed, being tied unto a tree,
     Breaketh his rein, and to her straight goes he.

Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven's thunder;
     The iron bit he crushes 'tween his teeth
     Controlling what he was controlled with.

His ears up-prick'd; his braided hanging mane
Upon his compass'd crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:
     His eye, which scornfully glisters like fire,
     Shows his hot courage and his high desire.

Sometime her trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say, 'Lo! thus my strength is tried;
     And this I do to captivate the eye
     Of the fair breeder that is standing by.'

What recketh he his rider's angry stir,
His flattering 'Holla,' or his 'Stand, I say?'
What cares he now for curb of pricking spur?
For rich caparisons or trapping gay?
     He sees his love, and nothing else he sees,
     Nor nothing else with his proud sight agrees.

Look, when a painter would surpass the life,
In limning out a well-proportion'd steed,
His art with nature's workmanship at strife,
As if the dead the living should exceed;
     So did this horse excel a common one,
     In shape, in courage, colour, pace and bone

Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:
     Look, what a horse should have he did not lack,
     Save a proud rider on so proud a back.

Sometimes he scuds far off, and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a race he now prepares,
And whe'r he run or fly they know not whether;
     For through his mane and tail the high wind sings,
     Fanning the hairs, who wave like feather'd wings.

He looks upon his love, and neighs unto her;
She answers him as if she knew his mind;
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,
     Spurns at his love and scorns the heat he feels,
     Beating his kind embracements with her heels.

Then, like a melancholy malcontent,
He vails his tail that, like a falling plume
Cool shadow to his melting buttock lent:
He stamps, and bites the poor flies in his fume.
     His love, perceiving how he is enrag'd,
     Grew kinder, and his fury was assuag'd.

His testy master goeth about to take him;
When lo! the unback'd breeder, full of fear,
Jealous of catching, swiftly doth forsake him,
With her the horse, and left Adonis there.
     As they were mad, unto the wood they hie them,
     Out-stripping crows that strive to over-fly them.

     I prophesy they death, my living sorrow,
     If thou encounter with the boar to-morrow.

"But if thou needs wilt hunt, be rul'd by me;
Uncouple at the timorous flying hare,
Or at the fox which lives by subtlety,
Or at the roe which no encounter dare:
     Pursue these fearful creatures o'er the downs,
     And on they well-breath'd horse keep with they hounds.

"And when thou hast on food the purblind hare,
Mark the poor wretch, to overshoot his troubles
How he outruns with winds, and with what care
He cranks and crosses with a thousand doubles:
     The many musits through the which he goes
     Are like a labyrinth to amaze his foes.

"Sometime he runs among a flock of sheep,
To make the cunning hounds mistake their smell,
And sometime where earth-delving conies keep,
To stop the loud pursuers in their yell,
     And sometime sorteth with a herd of deer;
     Danger deviseth shifts; wit waits on fear:

"For there his smell with other being mingled,
The hot scent-snuffing hounds are driven to doubt,
Ceasing their clamorous cry till they have singled
With much ado the cold fault cleanly out;
     Then do they spend their mouths: Echo replies,
     As if another chase were in the skies.

"By this, poor Wat, far off upon a hill,
Stands on his hinder legs with listening ear,
To hearken if his foes pursue him still:
Anon their loud alarums he doth hear;
     And now his grief may be compared well
     To one sore sick that hears the passing-bell.

"Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way;
Each envious briar his weary legs doth scratch,
Each shadow makes him stop, each murmur stay:
     For misery is trodden on by many,
     And being low never reliev'd by any.

"Lie quietly, and hear a little more;
Nay, do not struggle, for thou shalt not rise:
To make thee hate the hunting of the boar,
Unlike myself thou hear'st me moralize,
     Applying this to that, and so to so;
     For love can comment upon every woe."

-William Shakespeare

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Invitation to the Voyage

Child, Sister, think how sweet to go out there and live together! To love at leisure, love and die in that land that resembles you! For me, damp suns in disturbed skies share mysterious charms with your treacherous eyes as they shine through tears.

There, there’s only order, beauty: abundant, calm, voluptuous.

Gleaming furniture, polished by years passing, would ornament our bedroom; rarest flowers, their odors vaguely mixed with amber; rich ceilings; deep mirrors; an Oriental splendor—everything there would address our souls, privately, in their sweet native tongue.

There, there’s only order, beauty: abundant, calm, voluptuous.

See on these canals those sleeping boats whose mood is vagabond; it’s to satisfy your least desire that they come from the world’s end. —Setting suns reclothe fields, the canals, the whole town, in hyacinth and gold; the world falling asleep in a warm light.

There, there’s only order, beauty: abundant, calm, voluptuous.

-Charles Baudelaire (Translated by Keith Waldrop)

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[state of emergency]

To honor movement in crescendos of text, combing through ashes for fragments of human bone, studying maps drawn for the absurdity of navigation — what may be so edgy about this state of emergency is my lack of apology for what I am bound to do. For instance, if I dream the wetness of your mouth an oyster my tongue searches for the taste of ocean, if I crave the secret corners of your city on another continent, in another time, in series of circular coils extending outward, then it is only because I continue to harbor the swirls of galaxies in the musculature and viscera of my body. You will appear because I have mouthed your name in half-wish, reluctant to bring myself to you. You will appear for me, because you always do, with earthen skin outside the possibility of human causation.

-Barbara Jane Reyes

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A blog is a terrible thing.

You think it would quench the thirst for real publication, but it doesn’t.
Instead you act a little tyrant, and push your agenda. Your own printing press and audience. A Napoleon of poetry.

And then when you need to speak to people, they don’t know who to listen to. The voice in the blog or you. And when you think about all you have said to the world, you have to wonder if you really meant it, but there it is, said and said and said. And there is no taking it back, is there. And the delete key seems such an impotent option. A thing can’t be unread.

But the most terrible thing about a blog is that it’s all there in one place, consolidated, lucid. Every inconsistency shining forth, juxtaposed. A stubborn consistency it makes, and Emerson would be rolling over in his grave, the way we let it demand that we mean what we say and say what we mean and then account for it all again and again.

There comes a time when you go too far, and from there you either strip completely naked, or you leave town.

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