How to be a poet

This entry is part 39 of 39 in the series Manual

 

Write from a place of deep fear, which the authors of the Old Testament rightly considered the beginning of wisdom. Turn your poems into cunning traps and instruments of fraud. Writer’s block is primordial and best left uncarved; create only in its shadow.

Prize your digressions. Revise nothing, and put all your poems into books that self-destruct after a single reading. Wallow in idleness. Treat inspiration as a sworn enemy.

Practice abstinence; it’s the only way to know what love and hunger are really all about. Find something absurd to believe in and cling to it as passionately as Pound clung to fascism or Neruda to Stalinism. Watch a lot of television.

“First thought, best thought”: get it down and go do something useful, like cleaning the toilet. In lieu of reading, listen to audiobooks. Write about what you don’t know and didn’t think you cared about. Stay in your cave until you start seeing beasts on the walls.

Cultivate suspicion and distrust toward the universe — after all, it is out to kill you. If you must be sociable, avoid poets, for they are boring at best and petty at worst. Hang out with artists and musicians instead.

And for god’s sake, learn HTML.

Landscape, with Ruby-Throated Hummingbird

This entry is part 3 of 93 in the series Morning Porch Poems: Summer 2011

 

Sliver of ruby in the emerald grass,
flash of sun— You’ve promised me

the rain’s curtain of beads won’t drown
the flickering wish uttered by the hibiscus;

you’ve sworn the bees in the hive won’t fold
their lemon-colored cards deckle-edged

with sugar. I believe you as I believe
the wind ruffling the orderly hedges,

turning the hapless pair of green
plastic garden pails on their sides.

You teach my heart to set itself
afloat on the skin of the sea,

tiny urn bearing its few remaining
cubes of sweetness. If I am calm,

it’s only because your name thrums
a feathered bruise just under my lips.

 

In response to an entry from the Morning Porch.

New videopoetry album

I realized this morning that my most recent videopoem was my 100th upload to Vimeo, so in celebration I created a new album for my videopoems there. It contains 45 videos so far, including those I’ve made for poems by others (Nic S., Dick Jones, Peter Stevens, Federico Garcia Lorca, Pedro Salinas, Czeslaw Milosz, Cesar Vallejo and Juan Ramon Jimenez). The Flash player at the head of this post (probably not visible to RSS or email subscribers) displays everything in the album in reverse chronological order. Once you start viewing videos, it will continue playing them in order unless you click on something, which allows you to resume browsing. (If it starts giving error messages, refresh the page.) I’ve also stuck this player at the top of the Videopoetry category page here, since I do store almost all my videopoems on Vimeo.

Vimeo calls this a Hubnut widget, and says it offers “a TV-style viewing experience.” I guess being able to change videos with one click of the mouse is kind of like changing channels with a remote, assuming there’s someplace with 45 channels devoted to poetry.

Speaking of channels, I do still also maintain the amazing Undiscovery Channel for wildlife videos, though many of my best are actually hosted at YouTube. (Since until recently I didn’t have a paid account at Vimeo, it was faster to get videos processed at YouTube, and like most bloggers I’m often in a hurry to post. I still think YouTube is a great free service and an indispensible website, albeit increasingly junked-up with ads.)

As time permits I’ll be making and uploading higher-definition versions of some of my older videos, and maybe even fixing some problems with soundtracks, sub-par readings and the like. One of Vimeo’s chief virtues is that it allows one to swap in a new file for an old one while keeping the same URL and embed code, and without losing accumulated statistics, comments and likes. And see, this is why I prefer the freemium model for web services: once I’ve committed to paying $60 a year for something, it makes me want to get my money’s worth and stop being so goddamned slap-dash about everything.

Familiar

This entry is part 2 of 93 in the series Morning Porch Poems: Summer 2011

 

Like a letter someone writes in the early hours,
as rain turns all the windows to skin.

Like the ink that streaks across the vellum
surface, ending in a flourish or a dash.

Like the light that filters upward from the ground
as mid-day heat; or condenses in beads of sweat.

Like a blur, like a wing, like a shard;
like a face passing behind the shutters.

Like the sky that’s often mistaken for weather;
and the world beneath it going where it goes.

 

In response to an entry from the Morning Porch.

Import/Export

This entry is part 4 of 20 in the series Highgate Cemetery Poems

 

Decapitated head

Six fresh oranges
in the short grass
on the grave of the founder
of an import/export company,
born in Aleppo.
A toddler strains against
his mother’s grip: Ball!
How to explain
the Silk
Road, the souk,
the once-unassailable
hospitality of merchants?
How to explain torture,
a feast of agonies called
the magic carpet?
A cricket plays his hit single.
Ball. Ball.
Such longing!
In Syria, they say
a narrow spot can contain
a thousand friends.

Clive Hicks-Jenkins retrospective exhibition: official opening now on video

I’ve shared videos of the May 6 poetry reading for The Book of Ystwyth, but the main event was the opening of Clive’s 60th birthday career retrospective exhibition at the National Library of Wales the following afternoon. And fortunately I didn’t have to worry about videoing that one; they had a professional filmmaker there to do it for them. This is the result.


Watch on YouTube.

Following Andrew Green’s introduction, Clive’s own remarks focus on the central role of place, love and community in his work:

Being a painter isn’t just about standing in the studio and making still lives and landscapes and narrative paintings. It’s about the people you surround yourself with, people who cluster around you, the people you love.

Would that all gifted artists and writers took their social obligations so seriously.

The exhibition continues through August 20th. If you’re anywhere in the U.K., don’t miss it! It’s a huge exhibition and well worth the time and effort to go see it, I think. Browse the works on Clive’s website and his blog posts about the exhibition for a preview.

Aperture

This entry is part 1 of 93 in the series Morning Porch Poems: Summer 2011

 

Meaning the lens through which the light could come.

Some doorway inviting passage, or at least reflection.

Now I want to touch the crackly paper, unroll it so it’s flat upon the table.

Blueprint of rooms that carpenters might translate into stone, light, glass.

The sheen of wood under my heel.

Do I dare to fit the keys into their sockets?

How much for a handful of nails, a trowel, a stanza of bricks?

A nautilus is a poem fished out of water, its halls filled with cantilevered dreams.

Grass blades weighed down by rain calculate the distance their bright missiles will travel.

Poise of a pencil before the cross-hatched stroke.

Here we are on the threshold of summer—

It is only the shortest night of the year.

 

In response to an entry from the Morning Porch.

Where Bluegrass Comes From (videopoem)


Watch on Vimeo.

See yesterday’s post for the text. And where did the poem come from? As I explained in the comments yesterday, I went to a multi-day bluegrass festival with my banjo-playing cousin and his family this past weekend. That’s the origin of most of the video footage. The first two sentences that I ascribe to the banjo player are in fact pretty close to what I overheard in a workshop for banjo players on Saturday. But I wrote the opening lines in response to footage of a beetle on a blade of grass, shot yesterday morning in front of my garden. So the video and the poem came along together.

I’m more of a fan of older-style Appalachian string band music, but I do enjoy bluegrass, too, when I’m in the mood. Its relentless pursuit of speed combined with its potent nostalgia for a simpler way of life strike me as quintessentially American, though I realize it’s spread all over the world now.

Where Bluegrass Comes From

This entry is part 30 of 34 in the series Breakdown: The Banjo Poems

 

A road travelled every day
soon comes unhitched from the horizon.
You can switch roads or you can dance in place.

The fiddle player says:
I like to stare out the car window
& dream about staying put & growing roots.
You can dance in place or you can jam.

The banjo player says:
I never learn the tune as a whole, only its parts.
I remember the one little thing that’s different
& the rest takes care of itself.
You just keep jamming until something jells.

 


Watch on Vimeo