Mary Trautmann: July 26, 1920-Oct. 12, 2015

Swimming into CloudsIMG_0732

Mary Winfrey Trautmann was born in Des Moines in 1920, and raised in Indianapolis. Her father was the theologian Frederick Kershner, who wrote many books including PIONEERS OF CHRISTIAN THOUGHT, a great book I read a few years ago. She began writing poetry in the ’30s and helped her father by reading to him, since he lost his eyesight in late middle age. She got married, moved to Whittier, California, and had three daughters. She lived in the same house from about 1955 until earlier this year. Mary was active in the women’s movement in the ’70s. She lost a teenage daughter to leukemia and wrote a memoir about it, called THE ABSENCE OF THE DEAD IS THEIR WAY OF APPEARING. In 1979 she lost her husband in a plane crash in Chicago. Another daughter is mentally ill and has been institutionalized for over thirty years. In the early 1980s Mary helped found a publishing house called Cleis Press, which just two years ago came out with her book of selected poems, called SWIMMING INTO CLOUDS. Her third daughter Julie Trautmann lives in Seattle and is a speech therapist in a hospital.

Over the past twenty years, ever since I first arrived in Los Angeles, no one has been a better friend to me than Mary. She was wise, funny, supportive, a good listener–she was a patient, dear friend. I had been writing mediocre short stories until I first met her in 1995 at a writer’s group in Pasadena. She was one of the first people who inspired me to start writing poems seriously at the ripe age of thirty-five (I had dabbled a bit as a teenager and in my early twenties). She was always so funny and smart and kind-hearted and giving. She’d experienced so much loss in her life but she didn’t dwell on it, she bore it lightly. Though very talented, she was never really comfortable promoting herself and hunting for a long list of publication credits and renown. I admired her for this. I admired her for her strength and modesty.

I learned so much from Mary: how to craft a free-verse poem; how to edit my own prose, watching out for awkwardness and unnecessary repetitions; how to keep prose elegant and muscular. In the realm of living, I learned from her about fortitude in the face of adversity. She was not plagued by status anxiety. It so happened that the author Kurt Vonnegut went to her school at the same time she did, was in a class below hers at Shortridge High School in Indianapolis.  I asked her if his world renown etc. ever got her down, and she answered, “It would, if I let it.” I’ll never forget that. (I myself went to high school with a fellow now sort of world renowned, and later went to college with a world-mythical figure now living in Washington DC in a big white house–and so I try to keep her attitude.)

Where is Mary now? I know she is with her daughter Carol and her husband Paul, and with her parents and her beloved brother Fred and sister Bea . . . How do I know? Can anyone know something like this? Probably not. From the last pages of Thomas Mann’s BUDDENBROOKS, here’s some of the dialogue. The decline and fall of a great North German dynasty is now complete. Some ladies, left behind, remember all who have passed on:

“Hanno, little Hanno,” went on Frau Permaneder, the tears flowing down over her soft faded cheeks. “Tom, Father, Grandfather, and all the rest! Where are they? We shall see them no more. Oh, it is so sad, so hard!”

“There will be a reunion,” said Friederike Buddenbrook. She folded her hands in her lap, cast down her eyes, and put her nose in the air.

“Yes–they say so.–Oh, there are times, Friedericke, when that is no consolation, God forgive me! When one begins to doubt–doubt justice and goodness–and everything. Life crushes so much in us, it destroys so many of our beliefs–A reunion–if that were so–”

But now Sesemi Weichbrodt stood up, as tall as ever she could. She stood on tip-toe, rapped on the table; the cap shook on her old head.

“It is so!” she said, with her whole strength; and looked at them all with a challenge in her eyes.

She stood there, a victor in the good fight which all her life she had waged against the assaults of Reason: humpbacked, tiny, quivering with the strength of her convictions, a little prophetess, admonishing and inspired.

 

Here is a poem from Mary’s early, formal phase:

To One Now Blind

What you have lost is not so great a losing

As many think, or say in smothered phrase:

The green and yellow-throated hills, refusing

Winter’s black stare; the violence of day’s

Familiar whiteness; count of birds combining

Their narrow wings in patterns on the wall;

The curving cone; the languor of declining

Wet birches; rainbows; fire—are all, are all

Which, by this subtle cheating, have been hid.

How shall you lack the pageantry of these?

Color and shape and thought still pyramid

From undiscovered sources; still they please

And, one world gone, the galaxies arise

To spires of light behind your darkened eyes.

 

And here is a later poem:

shadow river

once

            the river was young

as we were

            graced with small summer islands

that entice   lead us toward the shallows’

lucent brimming pools

 

each island different   though every

windward shore churns with rapids

            wild shudders and foam

            a ragged din

            that swings fear up the throat   drives us

headlong past the tumult

 

to stagnant shoals

soft as fresh ferns

to long hours that grow feet sunk in mud

fingers

            straining after driftwood

            shells   crawdads   whatever

the river sends

 

show-offs we put together dams and pyramids

skip rocks until the river’s skin

is stamped with silver rings

or wade   beguiled

            among the lazy fish

            torn bits of honeysuckle buds

 

we claim it all – islands   the brindled crescent beaches

the mud and gnats –

the river   too   is ours

until

            one golden buoyant August afternoon

traps

an unknown child on the windward islands

            face down in the reeds

            fishlike body striped

            bluegreen from algae

the tawny hair a net for water spiders

 

some mistake   we think   some sort

            of knife change in the weather

            bringing him here

            without heat or breath

a child like us

but not like us

 

tears

singeing our cheeks

we cut him loose

and let the rapids fling him near the town

 

then

run   go

give up forever

            the sunlit pools   the dams

            the honeysuckle islands

abandon summer

            to the waves

            of this hypocrite river

we never mastered or owned or understood 

*

NOTE:  On November 8, following S.A. Griffin’s reading at the Second Sunday Poetry Series (3433 Cahuenga Blvd West, 5 pm) I will read a few poems from Mary’s books, SWIMMING INTO CLOUDS (available from Cleis Press and Amazon); THE ABSENCE OF THE DEAD IS THEIR WAY OF APPEARING (on Amazon); and KEEPING CAROL (which can be purchased by writing to me: alex m frankel 2000 at att.net )

 

 

 

 

 

 

Suzanne Lummis: Our Lady of Beneficent Talent

Lummis Open 24 Hours Over the past thirty or forty years, one of the most popular and visible people in the Los Angeles spoken-word scene has been Suzanne Lummis. She is admired as a poet, an actress, a performer, a festival organizer, a poetry promoter, and a skilled promoter of herself. Last year Lynx House Press published her most recent collection, Open 24 Hours.

I’ve got to confess, right off the bat, that most of my interactions with Lummis have not been positive. For example, I once approached her at an event to ask if she might like to read at the series I host. She asked if I paid. I told her I couldn’t.  She then informed me that, due to her popularity, she only did readings for a fee. “Wherever I perform, it’s standing room only!” she declared. Recently on Facebook, when asked why more writers of color were not included in an anthology she’d put together, she began her defense by saying, “No one knows the L.A. poetry scene better than I do.”

And, speaking of confessions: a priest friend of mine always tells me, based on what he hears from me about the L.A. poetry scene, “It just sounds like a bunch of people shouting Look At Me, Look At Me!” On the other hand, I doubt people can get very far in the arts, or in any field for that matter, without vigorously and tirelessly promoting themselves the way Lummis does.

I have heard her read aloud. She is a good performer and always gets the laughs she’s looking for. So I was curious to find out how her work holds up on the page. Open 24 Hours has been my first exposure to Lummis as a writer.

Last week I read the whole book, and just now I’ve opened to a random page, to a piece called “Eurydice Finally Finds a Working Phone Booth.” After a long quote used as an epigraph (having to do with a massive L.A. sardine die-off), it begins:

I’ve got bad news

and worse news: first, I’m in hell

and, secondly, I’m calling collect. Come get me.

And hurry up, will you, I don’t like the weather—

muggy most days. And this seaside town

that maybe served once as an annex to heaven,

is shot, well, to hell I guess, the wharf eaten,

strewn with threadbare nets, stalls

where fishermen displayed the open-eyed shine

of the day’s catch just rotted sticks now,

the storefronts turning to salt then

to thick and itchy air. Wow—

what was that? Can you believe all those words

jumped from my mouth? Don’t know

how I did it . . .

This material is nice, and it’s entertaining, kind of funny stuff. If read aloud by Lummis herself, I’m sure it does well at spoken-word events. One of the “schools” Lummis belongs to is the Stand-up Poetry school; as a performance piece, it would work. She has a good voice: it’s feminine, well-trained, expressive, just the right volume; and her appearance usually includes her trademark red or black beret, jet black dyed hair, dark clothes, and a deathly pale face, which brings me to the other school she belongs to, that of the “poem noir.” And what is the poem noir? There are two ways to define it. In a broad sense, as explained recently in a lecture given by British scholar John Challis, the poem noir takes characteristics not just from the famous ‘40s and ‘50s U.S. movies commonly labeled as noir, but much later ones such as Taxi Driver and more recent ones still, such as the series Breaking Bad. What do they all share? Here are my lecture notes on the films:

“Ordinary people get into extraordinary situations in which they break the law . . . Complex studies of the human condition . . . we are in the age of the film noir: hopelessness, sense of speculation . . . anxiety, paranoia, obsession, pessimism, death.”

And Challis goes on to cite some poems whose characteristics are (again from my notes): “running through the city at night . . . cemeteries . . . hard-boiled tone of voice . . . seen-it-all-before tone of voice . . . wit . . . unresolved endings . . . drinking & smoking . . . black and white: shadows . . . descent into underworld . . . hellish urban environment . . . tattoo parlors, clubs, etc. Hopelessness, despair . . . being trapped . . . ALSO: bars, trench coats, booze, cigarettes, diners.” Interestingly, he states that the poets he mentions (all males with international reputations) are not aiming to actually write noir poems and might even be unaware of doing so.

As far as Lummis’s own, more specific definition, I have not had a chance to read her essay in which she spells out her ideas (there’s a paywall for anyone wishing to read it, or the journal it appeared in can only be ordered). What I gather from her poems, however, is that many of the above characteristics apply to her work too, with the crucial difference being the tone Lummis is going for: she works and thrives in a noir atmosphere, yes, but we’re not supposed to take it seriously. There is no hopelessness or anxiety in her work, at least not on the surface. There’s not much crime; there are no tortured souls. On the other hand, she does give us an atmosphere, a setting reminiscent of the film noir world: Los Angeles, night, diners, rain, tenements, people down-and-out, definitely a “seen-it-all-before” tone of voice, a “hellish” city of night. I put that word in quotes because it’s not of course really hell. Films noirs took themselves very, very seriously. What Lummis gives us is, essentially, high camp.

I note from Challis’s lecture the phrase “descent to the underworld” and this applies perfectly to the poem I quoted above, which is all about someone stuck in hell. It ends:

Get me outta here! And this time,

Orp, we’ll make it. Because at this dump,

believe me, you will not look back.

Oh, but one good thing—no flames here,

no brimstone, like the Fundamentalists believe.

Although when I wade thigh deep

in that infected, oil-glossy tide, it kinda burns.

She calls to Orpheus to get her out. Yes, it’s hellish here all right, but the tone is worlds away from the films noirs of old, or even the deadly serious poems which Challis quotes from (one of them is by Paul Maldoon, I believe). Lummis inhabits the world of noir, but she doesn’t want us—on the surface at least—to take her seriously. Under the surface, I believe she does have a very serious intent (doesn’t all comedy?). “When things are really hellish, all we can do is laugh”—that’s what the poems communicate. The subtitle of her poem noir essay is “Too Dark to Be Depressed.”

Lummis as stand-up and “noir lite” poet—she succeeds in being both. Her poems are the edgy contemporary artifacts she wants them to be. How good are they, though? Hold on! What is “good”?!

Lummis does not try to be anything like Robert Frost or Wallace Stevens. That’s not her intention. She is not a “failed Wallace Stevens.” She is very consciously doing something different. We can’t fault her for not being Frost-like or Stevens-like any more than we can fault Andy Warhol for not being more Rembrandt-like. We judge Warhol’s Campbell soup and Marilyn Monroe and Mao prints as “important” and “successful” by a different set of criteria than we would a Rembrandt.

Having said that, it does seem that Lummis’s poems work better when read out loud, and especially when read out loud by Lummis, than they do on the page (she even warns us in subtitles, just half-jokingly, that some poems do not “work on page”). She has her good voice, her good beret, her pallid face, her very black hair, but on the printed page? In recent comments on KPCC radio, she quoted from some of her writing about what good and bad poems are (and not specifically stand-up or noir poems): First the good:

Well you have to be absolutely engaged with language, you have to be in love with language. And it would be helpful to have some talent.

Then the (more fun) bad:

I mean poetry in which the language is not alive — holds no charge, does not spring from precise observation, vivid recollection, luxuriant or stark imaginings. I mean poetry couched in platitudes, generalities, absent of imagery, physical details, texture and surprise. Or, I mean poetry with language that’s energetic but chaotic, murky, unfocused. Or, I mean poetry that’s careless, ungrammatical, not because the poet has set out to capture the vernacular of a particular speaker, but because the poet has not bothered to learn the basics of language.

Let’s go back to the last part of the Eurydice poem I quoted above. Where’s the charge? Where’s the precise observation? Where is the vivid recollection? Where are the luxuriant and stark imaginings? Where are the textures and surprises? If we go to the first part of the poem, the only interesting lines (and they are very good) come here: “where fishermen displayed the open-eyed shine / of the day’s catch just rotted sticks now, / the storefronts turning to salt then / to thick and itchy air.” I enjoy this, especially the “thick and itchy air.” But we see that, going by Lummis’s own criteria, there’s not much going on (verbally) that’s worthwhile, that can stand alone on the page without the femme fatale, phantom-like presence of the poet herself.

In another poem, “About Misses Iverson,” narrated by the voice of a low-rent building’s super/handyman, we have an old lady locked up in her apartment, dying in her bed. It has the noir characteristic of taking place in a sleazy residential hotel; there’s death; there’s Los Angeles; and above all there is an inconclusiveness to the piece, and an air of speculation, which are both noirish things I jotted down in my lecture notes. But what of the actual writing? The style on the page? Here’s how the poem starts:

She don’t open the door,

that old lady there, four-oh-six.

You know she shy, quiet, and never

do nothing, never call attention.

But the manager come for rent and she

don’t open. And he, you know,

’s calling Misses Iverson!—Come

back the next day—Heriberto—she

don’t open.

All very plain and simple. This would make a good passage in a screenplay or play. And the poem ends with speculation about Iverson’s motives:

The way I see it,

she work for some boss,

you know, some little place, her whole

life, where they do your taxes or sell

you insurance, something like that,

and she shy and she never do nothing. Well—

she do what she supposed to do.

Now she dying she push back some—

she don’t have to answer to nobody.

Don’t have to jump up for every knock.

Ahh no, she think, Uh Uhh.

I ain’t gonna open the god damn door!

This piece, with its lack of resolution and its speculations, works as a bit of noir; but how does the poem hold up if divorced from its avowed noir and stand-up intentions? Can it really stand on its own? Would you want to commit this to memory? Again, where are the precise observations, the vivid recollections, the luxuriant and stark imaginings? Okay, I admit there’s plenty of starkness here, nothing but starkness. What we have is a kind of torso, a short speech from a play.

In another piece, “Last List: Tenement Lexicon,” Lummis writes a list of things she is (or may be) called, things such as “Boss Lady” and “Tough Little White Girl” and “La Roja Loca.” Then she has a list of things she should be called, and one of them is “Our Lady of Beneficent Talent.” She also says “She Who Should Be Paid Attention To.” And she goes on to say “Miss Netherworld” (again, a reference to hell) and concludes:

Astarte   Leaping Deer

Philip Marlowe

 

Late-Night Sue

A Relatively Sober Dorothy Parker for the New

Millennium

 

Frank O’Hara in a

                     Joan Didion Mood

La Mujer Bellisima

Amiga

My Friend

 

My Love

This is fun and it’s revealing. She no doubt does fancy herself a kind of L.A. Frank O’Hara for the late twentieth and early twenty-first century. She does, I’m sure, fancy herself a kind of poetry incarnation of Joan Didion. Lummis is a good performer and a fabulous self-promoter, but, I have to ask once again, where are those precise observations and vivid recollections and luxuriant imaginings she imagines we’ll be dazzled by in her poems?

Where is the love affair with language?

The empress of L.A. poetry has no clothes.

New Books by Jack Bowman and Sherman Pearl

JackBowmanNewShermanPearlNew

Recently Jack Bowman (left, or top on mobile devices) and Sherman Pearl (right, or bottom on mobile) read at the Second Sunday Poetry reading series that I host once a month. Over the last week I’ve been reading their books.

Sherman Pearl has been around the L.A. poetry scene for many years. He started out as a journalist and began writing poetry relatively late in life. His book, Elegy for Myself (Conflux Press), is excellent for its unity and the way he has of bringing some poems to surprise endings that work. Many poems are about the poet/narrator alone in the desert or in front of abandoned stores or contemplating a traffic “crossing guard.” They deal with getting old, forgetting things in rooms, ruminating about the past.

One of the best poems is “Crosswalk.” The poet contemplates the seemingly boring, unfulfilling life of the elderly “crossing guard” at his grandchildren’s school; the guard “holds up his sign like a martyr’s crucifix.” The poet wonders if he should come out of retirement and become a “crossing guard” too:

I’m thinking of retiring

from the morass of retirement, of starting a life-

ending career. I scour the classifieds

for openings in the field of boredom, which

I’ve become highly qualified for. And what could be

more boring than waiting for death to cross

before the children do.

 

Sherman has chosen a great subject for a poem: the kind of character only artists would pay any attention to. We have seen this kind of person again and again in American cities, and yet we see him with fresh eyes with the help of this poet’s insight. The poem ends, “As I step off to start / my own crossing the guard leaps / from his chair, raises his sign, and leads me.” I love the religious tone of this: it’s understated and touching. The poet is at once observing the guard and identifying with his outwardly insignificant life. But what could be more significant than safely shepherding children (and grownups) across the street? There’s a lot to think about here.

In another poem, “Salvation in the Dead Zone,” the poet is gently critical of the country/western sounds moaning out of his car radio when he’s far from civilization and unable to hear anything more interesting. Soon the music dies and he winds up with only religion:

Then twist the dial

like a gambler betting everything

on his last toss of dice.

A faint voice comes through the haze,

some snake-oil preacher

hissing about Jesus and life everlasting.

You turn up the volume.

 

That last line is a surprise, but it makes perfect sense because the narrator is getting old and he’s driving through the “dead zone.” He’s cast off his big-city cynicism and opens himself to what the preacher has to preach. The poem is written in the second person, which serves to universalize the theme of aloneness and dread of mortality and isolation.

And there are many other similar good last lines in these pieces. If the poems have any faults, they have to do with a tendency to write too much, use too many words, not allow for white space and suggestiveness rather than spelling everything out. You get the feeling reading these pieces that everything was planned out, premeditated, like a magazine article. In fact, a few of the pieces might have worked better in prose. Sherman is at his best when he’s using fewer words, trusting the reader more to read between the lines and bring the reader’s own life wisdom to the experience of the poems. For instance, in “Man and Boy” what we have is a really magical encounter that involves an unnamed man and boy who are none other than the poet looking at himself at two different stages in life. It verges on the sentimental, but it’s not that at all; it’s a touching, lovely little poem that needs to be read in its entirety. Towards the end, the nimble, girl-obsessed boy reaches out to help the older man along, and tells him, “Good game. You’ll be a star some day.”  ( ! )     I suggest you buy the book.

***

Jack Bowman’s new The Troublesome Tales of Frank Macabre couldn’t be more different from Sherman’s book. The lines are shorter; more is (often) suggested rather than said directly; there’s little punctuation; the eye runs down the page easily in a vertical way very different from the horizontal orientation of Elegy for Myself. Jack’s world is rougher, his spirit crazier and more spontaneous. Sometimes he hits the jackpot, so to speak, with these poems; other times the pieces seem like hastily assembled thoughts on life. I love the way he has an alter ego, Frank Macabre, who enters into a good many of the poems and gives the book unity it might not otherwise have.

Interestingly, this is the only book I’ve ever read without page numbers. The poems here are numbered (there are eighty-one), not the pages.

When he’s good, he’s very, very good. In one poem, “Simple,” Frank Macabre plugs himself into some kind of device to get himself “clear” (as the Scientologists would say) and ready to start his day or whatever he needs to start. It’s a terrific poem. The device could serve as a metaphor for the many ways we use substances to zap us into shape for what we need to do. I’ll quote the full poem in this case:

Simple

In an effort to reduce stress

and back away from the razor,

Frank decides to sweep out his mind,

rinse out his heart

and hallow out the demons in his soul

 

he prepares the devices; cleans them

thoroughly,

straightens the wires,

untangles the conduits,

connects it to power

and begins

 

he shudders, trembles, as each chakra

fires;

sending blue fluorescent beams into

his head,

hair changes color,

skin adds green and violent hue,

translucent scales then shed,

feathers grow then detach

 

he mumbles phrases in Aramaic,

Swahili

and Togolese

each a proverb of strange, unknown

import

and then . . . he is back

exhausted, clear and ready to press on.

 

In another poem, the first one of the book, entitled “Nightmare Ave.,” we have, similarly to the above poem, a kind of little story, this one equally weird, about a home invader who tries to strangle a woman in her bathtub. That poem was very well placed at the beginning, because it’s strong and sets the tone well to head the collection. Jack works as a psychotherapist, so not only does he write from a place of exhaustive self-knowledge and exploration, but he has plenty of material from those he has sought to help. One poem, called “I Am Hurting,” has twelve lines that all read “I am hurting” followed by: “I am still hurting / And I want it to end.” And that’s a kind of sonnet, I guess, minus the “volta” that sonnets are supposed to have. It’s risky, it’s raw, and it works.

Jack’s pieces that use a lot of long words, jargon, and abstractions work less well than the ones I’ve quoted above; one poem starts, “From the moment eyes open / sounds echo throughout the cool / house / things known and unknown / emerge to connect / this world and the others.” A lot of this is generic sounding, empty. I think he’s at his best when there is some kind of story involved, even if (or especially if) the story is jaggedly-madly told. In “Threadbare,” he masterfully describes a spider imprisoned in an upside-down goblet. I think it’s just a wonderful metaphor for not just spider life but the whole human condition. There’s no escape. The poem concludes:

this is it,

was it worth it?

Was all that webbing and trapping

and spinning

worth it?

 

Hope so.

 

 

(You can purchase a copy of this book by writing to:   Jack Bowman L M F T @ yahoo dot com )

 

 

 

 

My Journey Ends in Your Eyes, the Graveyards of Everything Mysterious: Desert Sorrows by Tayseer al-Sboul

Translated by Nesreen Akhtarkhavari and Anthony A. Lee (Michigan State University Press, 2015)

It is very hard for English speakers to find anything on the Web, in bookstores, or in libraries, about the Jordanian poet and fiction writer Tayseer al-Sboul, who was born in 1939 and died young, by his own hand, in 1973. Now translators Nesreen Akhtarkavari and Anthony A. Lee have gone some way to rectifying this situation with a bilingual volume entitled Desert Sorrows, containing all of Tayseer’s poems. It is an impeccably made book, with long and informative pieces at the beginning to help readers get acquainted with the late Jordanian writer. Translator Anthony A. Lee’s preface, in particular, stands out. It is beautifully written and touching, and it explains the deep kinship he feels with Tayseer’s struggles and work.

As Lee says in his piece, some of the writing may at first strike a sophisticated Anglophone reader as clichéd and simplistic. This is a problem that has as much to do with cultural differences as with the act of translating. There is a reason (beyond language) that North Americans and Brits and Australians (etc.) know so little about Nigerian and Palestinian and Egyptian (etc.) writing, whether it be poetry or prose: there remains a huge divide between people of different cultures. And it’s not just “relatability”; it has to do with the question of what is considered good/new/fresh. For example in much early 20th century Spanish poetry, writers were still referring to the soul, el alma. But for Americans or Brits, the word or concept of soul seems, and has seemed for a long time, abstract and old-fashioned. Antonio Machado, who mentions the soul a lot, just hasn’t traveled as well as Lorca outside the Spanish-speaking world. What is anointed a good poem within a comfortable MFA context in 2015 is not so easily going to be accepted as a successful poem on the occupied West Bank, and vice versa. And I’m not even referring to the intricacies of translation.

Which brings me to Tayseer, who had a tragically short life but produced a novel, a few stories, and poems still much admired in the Arab world. Lee cites the following lines as examples of what could strike us as “flat. The images of the desert [are] too clichéd, and the narrative [seems] too stereotyped to represent the author’s real experience”:

From time before time,

in the darkest caves of eternity,

it [a Bedouin’s voice?] stretched through the Arabian Desert

flowing like a dream, magic, melancholy,

like the nights of Scheherazade.

As Lee discovered more of Tayseer’s poems, he realized there was more to him than he first realized. He cites these lines, and recognizes depression:

Winter has ended.

Boredom has ended.

I know I love the spring.

I long for it with desire.

But my suffering heart, full of winter,

……………………………………………………..

Appears at no fixed season.

……………………………………………………

My life is winter.

I read the preface after the poems, and I confess those lines jumped out at me too; they are especially poignant if read in the context of the whole poem.

Tayseer’s voice is lugubrious and heavy with abstractions; it is rife with lines that in most American workshops and MFA programs would meet with disapproval, lines like “The flowers of love will not grow in my barren heart. / If you come, my heart will not remember you.” Consider the first of these. It was written in the 1960s but could strike the sophisticated American as something from 3000 B.C.: the issue is the pairing of “flowers” with “love” and the phrase “barren heart.” If you look at much of this work from an “MFA perspective,” you’d say there’s not much here. But in this sense the three introductory prose pieces at the beginning of the volume do help us put Tayseer’s work and words in perspective. We do need a lot of background. We do need to know that he lived in Syria and Lebanon for a time and believed passionately in Arab unity, was suspicious of Western cultural intrusions, and was deeply (catastrophically) thrown by the outcomes of the Arab-Israeli conflicts of 1967 and 1973. If we as readers come to know about his life and times, his struggles and passions, then lines that may at first seem dull take on new meaning.

I believe the poems in this edition are not presented chronologically. (I could be wrong about this.) For some reason, the strongest poems come in the last third of the book, when the poet, never cheerful to begin with, goes into exile, despairs, and takes his leave. I love “Andalusian Song” and “A Gypsy.” When I first read these pieces (before reading the introductory remarks), I imagined the poet  temporarily in exile in Spain and visiting Seville. I took “A Gypsy” to be about the stirring song of “ancient” Flamenco performers as they sing and play castanets and guitar and stomp their feet. They remind the poet of the splendid days, a thousand years ago, when the Moors prospered in Spain and Arab culture thrived all through the Mediterranean. My interpretation could be off, but it is an enjoyable poem to read; speaking of Lorca versus Machado, it invokes the spirit of the great Gypsy poet from Granada who also died young and violently:

Gypsy!

I am running away, carried along by distant roads,

my black faith, unknown, terrifying.

My journey ends

in your eyes, the graveyards of everything mysterious.

Gypsy!

If I make a sacrifice to you,

it will be my heart.

Rain on me!

Rain on me

torrents from your cloud of mystery.

Rain on me! You are still wealthy

with the scent of grass on your breasts,

and the dew-drenched earth.

If Tayseer hadn’t shot himself in 1973, he might still be with us, and would be in his seventies. I wonder what he would have made of developments over the last forty years. Possibly he would have seen some good in the way his country has developed, an enclave of relative peace and prosperity. Given what we know about his character, he probably wouldn’t have much positive to say. Recently Jordan was in the news because of the savage killing of a Jordanian pilot by Islamic State fanatics; he was burned alive in a cage. I wonder what Tayseer would have made of that atrocity. I wonder what he would have made of the Iraq War and the Arab Spring. Obviously he left the world—for reasons we’ll never know for sure—much too soon.

 

RADOMIR LUZA’S TWENTY-FIFTH BOOK, “NEW YORK NADIR” (AuthorHouse, 2014)

 

New York Nadir is Radomir Luza’s twenty-fifth (!) book. Two things, I believe, set it apart from his other efforts: it chronicles marital break-up, mental illness, homelessness, and institutionalization in a journal-like manner; and also the poet recently rediscovered it (as he tells us in a preface) “under a pile of newspapers after it had been long forgotten.” New York Nadir was originally composed “in ten days in the [appropriately named!] Journal Square section of Jersey City, NJ.”  A poetic journal about being down and out, a manuscript forgotten and then dug up years later: the reader is prepared for something rough, confessional, brutal, crammed with brilliance as well as first-draft chaff, and that’s what’s delivered. If this were a polished, meticulously crafted book years in the making, it would not be the honest account of manic depression and outsiderness that it is. Since Luza produced this manuscript in just a few days, it no doubt served as a form of emergency therapy for him. I have done this kind of writing, too, and know how healing it can be.

When I read this collection, I realized (and not for the first time) that Luza is one of the most naturally gifted poets around Los Angeles. Here are some examples of what I mean:

[America], where you and me and every person in their house should take the TV set and ram a dictionary through it.

Then look up imagination. (“America”)

 

The Starbucks on West 6th matters tonight

It slices through the poetry critic in my head like

The birth of death (“Cleveland”)

 

The wooden confidence taker

Has me in its grip

I think

Because its brain is bigger than my heart (“Stage”)

 

The streets shimmer with sweat like housebroken monkeys

The addresses don’t fit the buildings

The toys aren’t big enough for the boys

The traffic light over there way over there

Should be over here (“Mineola”)

 

There was academic poetry in all its cold uncanny warmth

There was jaded you and jaded me

Def Poetry Jam in its television performance mode

Three minutes for half an idol (“Just Do It”)

 

There was no air conditioner at the Al Gore movie

The one about global warming

 

There was no air condition at Gladys’s beating today

Her husband Al wiped himself clean afterwards (“Air Conditioner”)

 

I wonder every night

Why the train passes,

Without stopping,

To help the lost,

 

Why the priests

Give such magnificent homilies,

Then hide in their rectories,

Like mice without a soul. (“Under Oasis”)

And there are many passages like these; I, for one, was in awe of Luza’s intellect. There aren’t many poets who would consider starting a poem with the air conditioner at the Al Gore movie! He’s quirky; he’s spirited; he’s more alive than most of the “academic poets.”

What makes this a great document about manic depression is also what keeps it from being a masterpiece: Luza was not concerned with meticulously editing/sculpting/refining the pieces here. He had a therapeutic goal in mind; his allegiance was to the process of restoring sanity, not to crafting little poems that would please academicians. For instance, he has quite a few lines like these:

[America], Where ecstasy has replaced cocaine as the mature drug.

Where America dons a disguise too ugly for

Halloween and too pure for Christmas. (“America”)

 

Where a truck driver like Elvis Presley changed the world. By not listening to it. (“America”)

 

These lines don’t contain much that is new or interesting, and then suddenly we come across pure brilliance: the next line reads: “Where Jesus speaks every Sunday morning. And is mute the rest of the week.” Yes! This is just great. This book is loud, uneven, inspiring, weird, fun, and touching. Let’s finish with some of Radomir Luza’s own words, the complete short poem “On the Set”:

At dawn the world finally makes some sense

The agonies and compromises of the night no     longer matter

Words sabers

Garnished like razors

Cutting through this moss of misery like pizza

 

Then the night

And sirens

I don’t care if

 

And the night

Covers my head

Bleeding from the wrist

I trip

 

Susan Sarandon breaking my fall.

 

HOT JOCKS SPOUTING APOCRYPHA: ON ALEX LEMON’S “HAPPY” (SCRIBNER, 2010)

Happy_AlexLemonAt the end of 2014 I took a two-week cruise to Hawaii and read like mad in preparation for the next draft of my memoir (but also for pleasure!). I didn’t mingle much with others. This was my third adult cruise (I mean since the ’70s): the first one, in the Caribbean, at the end of 2011, I sat at a table every night with a warm group of fake friends. We almost bonded, but then came the cutoff. I never heard from any of them again. My second cruise was to Alaska. I went with my birth father, Frank Verges, and during the course of the week I realized he was suffering from dementia. And still I managed to have a good time. This last cruise I was both traveling alone and not scheduled to share my meals with anyone. A real retreat. I sat in the nicest parts of the Grand Princess. I ate a lot, exercised, slept better than ever in a dark interior cabin. One book I read was Alex Lemon’s Happy.

I don’t have great memories of Lemon. I saw him at the 2007 AWP Conference, heard him read, bought his first poetry collection, Mosquito. I got him to sign it for me. “Thank you for purchasing my book!” he said. Later I noticed that in addition to being young and good-looking, he was popular as hell. I watched him from a distance at an AWP event as people came up to him and shook his hand and so on. I read his book—mostly poems indirectly about his  battles with brain disease—and of course realized how gifted he was. I tried to write a review and submit it to Alehouse, the now defunct journal created by my New England College fellow-student Jay Rubin. Jay insisted the short review go through weeks and weeks of revisions. It was like being thrown back into grade school again. Jay emailed me, “I hope you are enjoying this process!” After weeks of back and forth, I gave up. I never published the review of Mosquito. But I never forgot Lemon in spite of these negative associations.

So when I opened Happy I was hoping for some fine writing. Or maybe I was hoping it wouldn’t be so fine. I discovered the only really top-notch passages are the poetic ones related to his catastrophic illness. This book has people coming and going but no characters. Lemon doesn’t make the least bit of effort to draw anyone here except himself. We have a series of names; we have girls, boys, bodies, body parts, parents, doctors, nurses, teammates, coaches. But the book is strong in two areas. It is, as the blurbs on the back tell us, poignant and persuasive when it comes to a body’s succumbing to disease. And this after all was the main point. Lemon knows he’s not really a novelist. But what was equally interesting to me was his vivid depiction of his relationship with his buddies—his bros. Oh and what’s a bro? NPR will help: “[The] pillars [of bro-ness], which may overlap, are stonerish-ness, dude-liness, preppiness, and jockishness.”(For more, see here: Jeah! We Mapped Out the Four Basic Aspects of Being a Bro.)

All through this book, but specially near the beginning, I noticed a dramatic contrast between the rich inner life of the main character, on the one hand, and his easy relationships with his seemingly shallow, generic regular-guy-friends on the other. First some background: during college he was beginning to have vision and balance difficulties, headaches, dizziness—couldn’t, for example, catch the baseball when he needed to, surprising everyone. He brushed these off at first as maybe symptoms of a bad hangover or the flu. Finally he went to the college doctor, who immediately knew something serious might be wrong. The rest of the book is a chronicle of his descent into illness, his experiences in the hospital, his relationship with his mother (“Ma”), and his limping journey to recovery. An interview with the author serves as an epilogue to the book; I was struck by the fact that Lemon speaks about his wish to write a series of essays on masculinity (I have the feeling he’s now published those thoughts). In this book I could experience first-hand, as never before, how virile, popular guys interact with one other. I always suspected, especially in school, that the tough guys, the “real” guys, were continually acting, putting on a good show, role-playing. They may have had inner lives, but they concealed these lives and became the male equivalent of cheerleaders: cool surfers and lifeguards, shut-down ballplayers, taciturn studs emitting the occasional formulaic phrase. In this memoir we see what an act it is—at least for some of them. And definitely for the protagonist. He’s smart. He reads poetry! He does not talk poetry with anyone in the book, especially his teammates. Here’s a passage. Note: Tree is a fellow bro; the narrator’s nickname is Happy.

Tree stares at me, leans to Rick, and says something about the freshman being fucking worthless, just loud enough so everyone can hear it. “Kidding, brudda!” he shouts, punching my arm.

“Man, check your shit.” KJ pushes me. “You’re fucking bush league! BUSH LEAGUE, HAPPY!”

Rick spits in a bottle, pulls down his hat, and nods hello. “Nice to see you, Happy.” He smiles. “Glad ol’ Chester got all his shit done.”

“Whoo ha!” I yell like Busta Rhymes, punching my fists and forcing myself to laugh. “Whoo haaaa! I’m canned already. What a fuckin’ night! Sorry, fellas.” Everyone chuckles watching me fall sideways onto the couch. My head throbs. The world bounces in time with my heartbeat. I hiss a beer open with my key chain, and Rick tosses me a tin of Skoal. When we clink out bottles together it feels like I’ve got a tuning fork inside my chest.

The drinks spill as we spout our apocrypha, and I tell them how good my life was—the big game, the Super 8, at the farmhouse, the playoffs, in the cornfields, the state tournament, the superhero, the pond, jumping naked off the cliffs. And then the tapioca-thick sex stories—the backseat of a Buick, the church parking lot, a friend’s mom’s minivan, with the parents upstairs, while my friends pounded the car’s steamy windows, under the stars on home plate.

“Moving to Iowa Falls was like going back in time,” I say, belching out weed smoke. The light is frayed, grayscale. Empty bottles turret the tabletops.

“BACK IN TIME!” KJ slurs.  “Fucking Huey Lewis and the News!”

And this is typical. The bros are shooting the breeze, not much to say, and yet the narrator is capable of the beautiful “Empty bottles turret the tabletops,” using a poetic trick he is fond of (as are many poets): transforming nouns into verbs. And yet when Happy tries to say something a little bit deeper (“Moving to Iowa Falls was like going back in time”) his friend playfully upbraids him (“BACK IN TIME! Fucking Huey Lewis and the News”). At one point the narrator actually admits, “I don’t usually talk to my teammates about how I was raised because I want to fit in with them.”

Much of this book is devoted to the disconnect between bros joking around and a lonely inner soul contemplating both the world around him and his illness, his body betraying him. This reminds me of Genet’s Thief’s Journal: an articulate, sensitive “ruffian” surrounded by inarticulate, insensitive ruffians. And so we witness a divided self: Alex Lemon, “Happy,” plays a role in order to be accepted by his buds, a role helped by genuine enjoyment of drink and baseball and appreciation of the opposite sex, but inside his head he’s comparing the beer bottles to turrets; inside his head he is capable of dazzling language to describe his own pretended superficiality: “We spout our apocrypha.” Apocrypha?  Well, that’s stretching the meaning of a word, but it’s spot on: apocrypha as in fakeness, tall tales, a façade of masculinity, easy camaraderie. But inside him he’s focused on the great poets; inside him he’s struggling with the first signs of loss of heath and even of life. In the same vein, here’s a baseball passage; it’s now becoming harder for him to play:

My eyes roll in their sockets, and everything between Coach and me goes blurry. It’s like he hasn’t yet thrown the pitch. Like there is no ball at all. I feel myself falling, legs quivering to right myself, and then, suddenly, the baseball appears right in front of me, shooting celestially through the watercolored light, snipping over the dish. The ball hits the net, and I’ve barely started to swing. The guys watching hoot and clap and I shout, “Fucking shit!” and toss the bat off the ground.

“Happy, you’re swinging like a bitch.” KJ laughs. “Let’s go, man. Punish that shit!” He sticks a bat between his legs and thrusts his hips. “PUNISH IT, MAN!” He makes gorilla noises. “Get primitive on that shit!”

I love the contrast between “shooting celestially through the watercolored light” and “Happy, you’re swinging like a bitch.” The inner and outer worlds. A lovely and strong bit of writing about how a sensitive boy can be one of the bros. And that begs the question: The other pack members may not be poets, but they must have inner lives too. Maybe they’re not thinking about celestial shots and watercolored light, but something is going on inside them; they’re just keeping it well-hidden. They’re doing what guys do, especially adolescents. In a sense, you could call Lemon a “closeted artist/intellectual”; his peers might even have the same reaction as Wallace Stevens’s fellow lawyers did to Stevens being a poet: “What?! Wally a poet?” (I realize Lemon is still very young in the passages I’ve quoted, but even at that age he knows he’s an artist.)

As the memoir proceeds and illness takes its toll, the baseball “friends” gradually recede, and there’s much more now about Ma, doctors, girlfriends, etc. The memoir doesn’t have an upbeat ending, though the poet is still very alive and successful in the world. I’ve been looking through my copy of the book and see that I underlined most in the first fifty or so pages. It’s like a horror or disaster movie: the set-up and the first premonitions of disaster are the most intriguing moments. But I found the pleasures of Happy lay mainly in its candid examination of outer coolness/inner depth. On a bigger scale, I’m reminded how our lives are full of different discourse modes: we talk to our pets differently from the way we talk to our boss; we have one way of talking to a spouse, another way to a shoe salesman. Most of us are split into many different voices throughout a single day. Even when, back at AWP in 2007, Lemon said to me, “Thank you for purchasing my book,” he was using the formal word for “buy” that he never would have used with Tree, KJ, or Ma.

Happy contains (among many other things) a complete portrait of a late adolescent who can have it both ways: a rich life as a budding artist alongside easy relationships with other males and acceptance in their peer group. And yet I can’t help juxtaposing the Lemon from this book and the Lemon I observed at AWP, a center of attention, surrounded by supporters and friends. I always used to believe that high school popularity was a very different thing from success later in life, which I assumed depended solely on “artistic,” “intellectual” merit. Now I see that, usually, knowing how to work a crowd, connect with potential followers and influence them, build a network, and fit in with life’s teammates is what most successful people know how to do well, no matter the field. Lemon was training for his later role in the arts when he bonded with fellow bros. These days you are much more likely to hear about Lemon than Christopher Davis, phenomenally talented, reclusive, shy, but not shy in his writing about gay love. At AWP I watched them on a panel discussion together. Lemon stood up at the lectern and read a beautiful elegy. Davis didn’t even want to leave his seat; a somber, ghostly presence (or absence), he didn’t care if the audience liked him or not. And thus high school and college mostly continue, most of the time.

l’ll end with some lines from a Christopher Davis poem:

For My Pen Is

a pink glass office tower erection dominating
our brand new south downtown. Designed
by Chinese architects to intensify evening,

its sun-burned, glaring panes refract twilight,
hot air blossoming, dyeing dull gray sidewalks
bloody, rosy, color of a bad taste in the mouth.

A possum, ripped apart, reminds me of a men’s
room, brown liver served upon a bed of noodles,
death’s stench not unlike ammonia, piss, cologne.

(from the Project for Innovative Poetry blog)

On Nathan E. White’s APPARENT MAGNITUDE (Aldrich Press)

Not too long ago Nathan E. White read at the poetry series I host in Los Angeles. He gave a very unusual performance. He didn’t read in a natural speaking or reading voice, but rather in a kind of elevated chanting style that owes something to the far-out manner employed by Ilya Kaminsky. The young lady who followed him was wowed by his poems, and I bought his book. It has taken me a while to open it up; now that I have studied it, I have of course a better understanding of White’s art and point of view. My overall feeling is that this project would have worked better as a chapbook.

When White and I briefly spoke, after his reading, he told me about his bad MFA experience at New York University. He said it was overwhelmingly (though not completely) negative. I notice in his book he doesn’t acknowledge any poets or readers of his manuscript who might have helped in the final shaping process; no “thousand thanks to so-and-so and so-and-so without whose help . . .” and so on. He’s done all this work feistily on his own. I can imagine him in workshops, stubbornly and angrily resistant and closed-off to other people’s suggestions.

Much too often these poems sound like notes rather than finished products. For one thing, he tends to clog up his writing with long Latinate, lecture-sounding words:  from “Discretion”:  “During our break, we heard his final shouts— / eliciting concern, trepidation. // Alarmed, tempted, our welfare subsequent . . . // Twice deprived, wrecked, the conductor’s body / hidden beneath rails and ties, dissevered.”

These word choices, as well as the general tone and diction, serve to create a voice so reserved and aloof, we get the feeling this poet has spent most of his life in a sensory deprivation tank. There is little drama, very little that is compelling. And yet he does have a good book inside this book—a chapbook. Because the most interesting, and the only moving, aspect of this project is the horrific event of his mother’s suicide, and then its aftermath. Most poems here that address this terrible loss directly or indirectly (or flow out of it into the adult man’s mind and soul and way of dealing with the world around him) are immediately attractive: in these he throws out the lecture-sounding voice and finds real poetry: “When I Stand With My Brother at the End of God” begins:

 

Light as light is our light . . .

have us brace for the cold

and stand in silence,

while we must assume

 

the late shift: winter

fields, the first neighbors

who would show us the sky

at night, names we would learn

 

Many poets can’t get out of the Poetic Voice (much moon, much use of the word “luminous” and “wafted” and so on), but White seems to have the opposite problem, having trouble distinguishing between a draft and a polished poem, between a collection of notes-toward-a-poem, and something to be published out in the world. In many of these pieces, though, he shows he can be a master poet when he wants to be. From “Preliminary”: “Were you sick? Everyone circles you, unable to get closer.”  From “Subjunction”: “I advance to the lion fully lion.”  From “Closed Hold”: “I understand, / finally, should the sky be removed, there’d be no relief / from night.” From “Whether I Last Desire: “I am always half a thought away from answer.” Or the simple, lovely observation to his deceased mother in “Assignment”: “I like to think you enjoyed sewing and the Doxology. // I know that no degree of faith / recovers a suicide. The speculation exhausts me.”

There are enough brilliant passages and whole poems in here to make a strong and memorable chapbook. Too often, as in the title poem, White proceeds clunkily:

 

First thought somehow the flash forced

your eyes: those central apertures enlarged

so that the iris seemed overmatched—

edged out by twin spheres growing

colorless and parallel.

 

 I would rather (wouldn’t you?) see more of the following, from “Order of the Day”:

 

Brisk, wading through our creek, you caught my voice

lifting from shadow. I could not follow.

 

In the beginning, no word fell between.

 

Absence we fashioned early from mother’s

suicide—absence, for us, first language.

 

In the house we knew, we found substitute.

 

Say nothing, for nights are still bountiful;

each breath between us is strictly binding.

 

 

On Georgia Jones-Davis’s NIGHT SCHOOL (Finishing Line Press)

Georgia Jones-Davis recently read at the poetry series I host, and gave one of the best readings we’ve had there in a while.  She was in good form as she read from her new chapbook, Night School.  I bought the book and have been reading it. It’s terrifically somber and somberly terrific. She writes about growing old. She writes about the Russian dog sent into space to die back in the 1950s (well, it wasn’t exactly sent to die; it was sent to do other things; but die it did).  She writes about a boring professor who interrupts his lecture to muse about writing a play as good as Tom Stoppard’s Travesties. She writes a poem called “First Love.” While the title may seem corny, the poem is anything but. This poet has remarkable empathy for those beaten down by life, those unfairly treated, those left out. She doesn’t write about the in-crowd. She doesn’t write about the beautiful and the strong.

From “Who Is This?”:

            I have seen Greece

            and it is far away.

            One day what I call home

 

            will be a blue room

            with a single window,

            a single bed,

 

            and TV table cluttered

            with yellow bottles of white pills.

The style is simple, stark; often it contains surprises:  “The mind curtseys and bows, / then devours itself raw” (“Ruthie, Who Told Artist Wayne Thibaud She Didn’t Like His Pies”); “Did you wave at the train / with its shrill keen, / as it went its own creaking way / into the distance of money?” (“Did You Wave at the Train?”). Reading this book is like listening to soft piano pieces on a late afternoon: there are no crashing cymbals, no howls, no hammer blows. The poems are all different from each other and yet fit together, all clearly belonging to a series: variety within unity—unity with a distinctly feminine voice (and she does mention the moon once too often for my taste).

Night School would be a good starting point for those afraid of poetry or not terribly interested in it. Nineteen years ago someone gave me Sandra Cisneros’s Loose Woman for Christmas.  At that time I was writing (or trying to write) short stories and knew very little about contemporary poetry. The book opened my eyes to a certain school (“school” for want of a better word) of non-academic, accessible poetry that can be enjoyed without special knowledge or background. Night School is another such book. It does not put readers off with obscurities, and yet the poems are rich and just complex enough to warrant rereading and further study. I love one of the last poems in this collection. A little girl is on a road trip with her parents, and here’s how the poem ends:

            The motel vanishes in a pink blur.

            The girl watches how

            the flat world speeds up

            as if the valley

            were on wheels

            and the girl, her mother and father,

            the ones standing still.

 

 

 

Uppercut: A Review of Alex M. Frankel’s Birth Mother Mercy (Lummox Press)

 Uppercut: A Review of Alex M. Frankel’s Birth Mother Mercy

Lummox Press, San Pedro, CA

© 2013

Review by Steve Goldman

 102% of American families are dysfunctional.

                  Robert Bly in casual conversation

 

…  A birth mother does not kiss

With iron heart and easy petal she flees…

                       Alex M. Frankel

 

Reviewing Alex M. Frankel’s poetry collection Birth Mother Mercy is by far the most painful and difficult reviewing I have ever been called upon to do. And I hope it remains that way forever. Not because it is so mordantly brutal and bursting with rage, describing the terrible matters it does, but because of how completely I identify with it – because of the great pain I feel in revisiting all that in my own life. Perhaps because I’ve written my own such cathartic book – I really don’t want to read this one. But this is “special pleading” and no commentary on the quality of the book at hand, which is superb.

But Birth Mother Mercy along with its dryly and nigh perfectly contoured “sharp stick in the eye” language, is honest and not excessive. The autobiographical poetry here is not about family life or relations such as you’d see on Leave It to Beaver. Rather, we are talking about hideous emotional and psychological abuse in family history. Total rejection a priori, attendant betrayal of any decent or even minimal human support and affirmation, ceaseless schooling in your own vileness, killing and sui generous loneliness, depression, substance dependency, legal or otherwise, social dislodgement, economic murder via fraudulent interdiction of rightful inheritance and being driven to crazy measures to somehow compensate,  to name a few.

The vile developmental aspects of Alex’s life earn the strong pejorative treatment noted and to say the least, I don’t know how he could have written this book any other way. Here vituperation becomes art, goddamned honest art. I once saw a kitchen sampler which read: “So work your grief into art and it will leave you”.  I hope writing and publishing this book has helped Alex, as I know my almost identically themed book has helped me, and I hope it helps anyone reading it, as discovering Sharon Olds helped me.

OK, a digression. Here we are on about autobiographical poetry; a term arrived at independently by me and the aforementioned Sharon Olds. The point is that this is not “confessional” poetry. Alex, Sharon, I and multitudes of others have nothing to confess. We are not criminals, we are not crazy, we are not worthless, and we are not illegitimate. And that Reader is the fundamental point, that and conversion as best possible of the indelible stigma of family damage: to recover our endemic dignity

A blurb on the back of the handsomely mounted book notes that Alex’s images make an “uppercut – punch use of language”. This guy (Eric Morago) knows whereof he speaks; uppercut: hardest punch to see coming, because only usable at very close quarters or in a clinch, with a unique vertical trajectory and devastating when done right.

So here we go. In the first lines of the first stanza of the first poem of this book namely The Growth we find:

Snug inside the wet flesh of a girl

 there’s a stowaway curled up

bundled in a bubble safe from scandal,

it must not be seen, it must think small, smaller, smallest

even when its eyes are wanting to explore

“…stowaway…”!? This guy was rejected prenatally. Even before birth, before being “thrust into the world” (geworfen – a la Heidegger) with, like all of us, neither his own permission nor intent – he is instructed and structured to become “small, smaller, smallest” in a dark pregnancy, the opposite of growth, of gestation, of nurturance. And mom-to-be must physically conceal her “shameful” pregnancy. Hell of away to enter the world, wouldn’t you say? In a poem of my own, I designate myself as being “technically legitimate// the bastard save only in name“ Nuff said?

Oh yes, it is now definitively known to medicine that a mother’s mood during pregnancy can affect the development and personality of the newborn to be, that and whatever genetic predispositions are at play.  My own mother was chronically depressed. The family life there was one of ceaseless shrill screaming to me about how wrong, evil, incompetent and disingenuous I was. I was literally born and bred for depression.  I know what Alex knows, and reading this so painful a book, it provokes as noted my own reminiscences. The upside is that I don’t feel so alone. How ‘bout that folks: in utero depression?

So then, let’s just brush by some of these related concerns, or should I say agonies?

As for depression, clinical depression (my own specialty – I majored in it in college) I will leave to your discretion, Reader, to sample these horrific wares. Alex speaks frequently throughout the poems of Prozac, Welbutrin, Cozar, Aldactone, meds. For depression and stress, in one instance “…liquid Prozac on my jeans…” Let’s let that suffice:  all I can say (and you won’t understand this if you haven’t experienced it, and if you have you don’t need me to tell you): it is the direct experience of the Void which is beyond the grasp of language. I can’t tell you. It is literally “unspeakable.” Take it from me.

There is however an 80% correlation between poets (a certain brain chemistry, make you no mistake) and clinical depression. (An NYU Study). Thus, Alex’s book implicitly forwards the understanding of poets and poetry categorically, which is desperately needed in this country to wit.

Loneliness.  A haunting and thwarted loneliness pervades this book – the ongoing desperate need to “connect.” Erotic imagery not excluding lust, abound in red-hot passages here. In fantasy – from the poem The Long Happy Flight of Asa Smallidge Streb, the speaker lusts vicariously for his airliner seat-mate: “Even the way he yawns looks macho and youthful. Big strapping nameless jock of the unexamined life…” Once elsewhere, the accidental touch of a market cashier’s hand gets the juices flowing.  And franker still, from Cum Laude (as if on the internet) “Hey boyz 9 inches here uncut / hard as hell / someone help me with this load…”Amongst its many virtues, frank and deftly rendered eros is a preeminent one and a liberating one at that.

Desperation. In When the Queer Chat Room Closed… Alex, so desperate  for contact outlines crazy chat room scams representing himself as a girl, in some kind of hysterical hope that a girl might be treated better by the faceless co-conversant on the net. “How easily I knead my breasts into being// when, instead of typing ‘48/male’/ I lie a bit, write 20/female…” The yearning and conjoined lust just sizzle through.

The Pleasures of Relinquishment with its recurring line “seven pounds of shame were shed today” sums up the tone of the book, Emblematic in its way of the whole book; this is not merely satire, not analysis not exposé, but polemic.  “Here, here” say I!  Vitriol! And while we’re at it (get a load of this!), this very poem is a villanelle of all things! Villanelle? An obscure French poetic form, strictly dictated, needs recurring lines, specific rhyme pattern, leaving no room whatever for divergence from. None!  (I marvel that Alex doesn’t have a sestina in here too.) I don’t actually know all the rules for the villanelle and I DON’T WANT TO. But this kind of thing is immensely difficult to write, let alone so tellingly, where the great skill does not obtrude on the sheer immediacy of the “punch.” And this brings me to another major point.

Which pleases me near to the point of giddiness. Alex is a master of verbal acrobatics: notwithstanding formal verse, he rhymes too!  This book is redolent with rhyme, and the usual accompanying rations of form, meter and rhythm. Here in form and rhyme etc. – he demonstrates nothing short of virtuosity.

And limericks, yet.

There is something simply triumphantly whacko about writing “serious” limericks if you please, about dire and ugly family shit.  This is to me a post-modern evidence of what I call ‘metaphysical vaudeville’ which I personally propound and find only otherwise, by and large, in Thomas Pynchon. How the hell else you gonna handle the virulently poisonous nuclear fallout of family doom? Long romantic lugubrious verses? Not hardly, them days are gone forever.  Standard English usage and prosody by themselves are inadequate to express, render and convey what is so excruciatingly at stake here. Hence limericks! Nu? Compared to this, black and gallows humor are kids’ stuff.

Whoopee! And another digression, if you please. Note: the grand tradition of rhyme, meter and rhythm has been dissed after the great moderns, and held in unctuously condescending disdain by poets, critics and academic alike. Why do people fail to realize that before say, Eliot, poetry was rhymed, and that the Great Moderns, even as his contemporaries: Yeats, Auden, Frost, Jeffers (?), Housman, Robinson, all wrote rhymed, metered poetry and at the end of an incalculably long historic tradition of same.

And not realize as well that in many quarters rhyme is regarded as an invention to facilitate memorization? How do you think father to son transmission takes place down the centuries – of the great national folk epics? Old men reciting reams of the Great Poem, which rhymes.  And poetry is an oral phenomenon first.

So:

Rhoda Goldfarb (a limerick,)

A gold digger clung to my dad.

To want her he must have been mad.

    And when he was dying

   No sense in her crying,

As long as she got all he had.

An actual person’s name, even the wicked stepmother’s – in a poetic diatribe? This is a bill of particulars; this is a j’accuse – no less!

Nor is Dad exempt,

At Pop’s Grave (you guessed it, a limerick)

I seldom come here with a wreath

 For the gentleman resting beneath

   Who lies grimacing, doomed,

   Ground-up, half-consumed

By a sweetie with vaginal teeth.

Jesus Christ! A friend of mine, a learned sort (Michele Celine Ph.D.) said that “growing up, my mother had one ball, my father the other.” What more need be said of the towering rage that suffuses this whole book?

In Larry Quint’s Birthday, a list of only evocatively related but shatteringly contrived one liners, Alex renders a personal hell of exclusion, desire, pain and hopelessness on par it seems to me with Hieronymus Bosch’s painterly visions of hell, but in personal terms, driving around W. Hollywood and environs – as the “fuel gauge” gets progressively lower. “…Never been so alive in all my alone// tired so tired…22 miles to empty… nice bag boy(at Von’s) too// about the age my mother was when she got rid of me//lucky if I see her once a year…tastes grow baser as the  hours pass…God if my students could see me on my knees,.. 17 miles to empty.   .Res ipse loquitur, folks, the thing speaks for itself. O, and here too, we see the apparently futile but compulsive need for re-joining the mother. Which, btw, is implicated in Freud’s “yearning for the oceanic feeling” replicating that of liquid cosmos of the womb, to say nothing of the broader psychological notion of the” mother wound”. Read this poem early in your reading. It too is a hell of an introduction.

All right: I hate this book. But read it. If you have need of such things, and most everyone does, and you need to unload more of your terrible burden and perhaps feel less alone, and who doesn’t? – this is an indispensable book. Read it if you dare but read it in your stronger moments.

This is an ugly book. Buy it. Can art be ugly? Think of Picasso’s “Guernica.”

© 2014 Steve Goldman

Steve Goldman exists.

 

 

Khadija Anderson’s “History of Butoh” (Writ Large Press)

One compelling aspect of Khadija Anderson’s personal story: she is a blue-eyed American woman, who, about twenty years ago, converted to Islam. Her religious identity, which so immediately distinguishes her as an individual, has—luckily for readers—also supplied much fodder for her poetry. But she never dwells on her conversion in a heavy-handed way: everything is done subtly, often indirectly, as befits someone who has, for almost thirty years, been heavily involved with a form of modern Japanese ballet known as Butoh, a very show, stylized and haunting dance/mime practice developed in the late 1950’s. Her unlikely mix of Japan, Islam and Southern California serves to unify and enrich a body of work that could only have happened in America but that, at the same time, points away from the hegemony of Western/white culture within a country that will soon be inhabited by a mostly non-white population.

Khadija Anderson has the enviable status of having been nominated for a Pushcart Prize for a fine poem also featured in this book; it is entitled “Islam for Americans”; it is short, comprising five short sections, full of pithy, smart touches and understated emotion. Here are sections three and five:

3. Does your religion make your wear that?

the woman

who does not

cover her hair

should have it

shorn

˜Corinthians 15:6

 

5. last words

I see a woman covered

in a long dress, headscarf

and face veil

as salaam aleykum, I say

and as she looks at my

bare head, tank top

and tattoos

she replies,

wa aleykum salaam sister

What an unusual blending/melding/clashing of lifestyles and civilizations! And Anderson strikes the right tone: she never “rants,” she never shouts at the reader or pontificates.

When she writes political poems, much is left unsaid, told in a “slant” manner; though her stance is clear, there is much cultural ambiguity as she reminds us how connected we all are:

A DAY

the beach at Tel Aviv

is sunny and clean

my bikinied friends

and I

keep a ball

aloft

helicopter gunship

flies above us

headed south

not far

maybe

44 miles

to drop

something

the pilot will join

us later

for

a beer

The “something”—the wording, the fact it’s on its own line—both humorous and ominous; the line break “the pilot will join / us later” is brilliant: what kind of joining is this when it has to happen on two separate lines? And who is this mysterious pilot, anyway? How do the narrator’s friends know him? And a beer: that means casualness, camaraderie, putting aside differences, but also potentially sweeping them under the rug.

Often Anderson’s poems are gently moving, helped by a plainspoken style unadorned by literary access. This is how her poem “Dakar” ends:

The beach is a short walk.

I play in the warm Atlantic surf

and notice it’s prayer time.

I turn myself

some way,

hands across chest,

suddenly many people shouting at me

this way, this way.

They point in unison

towards Mecca.

In a helpful preface, Anderson writes about Butoh and Islam: “My relationship to Islam is very much aligned with [Butoh creator] Hijikata’s raison d’être of Butoh—as a political and social expression of insurgency.” This insurgent side of her is evident in “Today for Jury Duty I Decide to Wear the Hijab.” The title already suggests so much! The last stanza ends: “One man stared furiously / I held my tongue / and smiled sweetly / like the good Muslim / that I am.” This is an unusual vignette. The actual writing, however, may be too plain, too bare. While the substance, the approach, the “meat” of this poem is indirect and leaves much unsaid, the actual wording perhaps comes up short: we are left with a fine anecdote rather than a poem we would choose to memorize if we were off to a desert island. On the other hand, if this piece were rewritten with more fastidious attention to sound, more powerful images and metaphors, then it would be perhaps a more literary poem that might, however, fail to communicate on a visceral human level, as it does now.

Each section begins with a “Butoh” poem that serves, like the preface, to set the stage for what is to come; these poems seem to have been written especially for this collection and contain little fresh writing. However, they do help—along with fine illustrations and an accompanying CD of wild music—to give the book remarkable unity.

And when Anderson wants to be more literary, she does a good job of it, without ever falling into pretentiousness. “Death Fugue for Palestine” (an irony indeed!) has an obvious antecedent. Interestingly, the more stylistically adventurous poems appear in the section dedicated to political poems not only about the Arab/Israeli conflict in our own day but also Japanese internment camps, U.S. imperialism and cultural cluelessness. “Take Me to the River” is a fine example Anderson’s talent; here is an excerpt:

when you go down to the lake

the pond

the beach

go down to the pool

when you go down to the cantina

down to the bar

when you go down to the pool hall

down to the brothel

to the boardroom

to the bank

the White House

when you go down to the snake pit

to the dog race

when you go down to the cock fright

to the casino

the bordello

go down to the RNC

when you go down to the cesspool

We live in a new era in this country in which we have begun to move beyond the much-loved Judeo-Christian white male poet-heroes who dominated in the middle of the last century. Anderson—with her eye to the Near East as well as the Far East—is a living example of the new directions we are heading in. And what better environment for this art to thrive in than diverse Los Angeles? In this sense, Anderson’s LA street poems provide the perfect starting-points for her musings on culture and the state of the world. Here are the last stanzas of “Shoe Poem”:

A Thai Elvis impersonator

shot Cambodian gangsters

for showing the soles of their shoes

while he performed

 

Some claim it is against

the law to drive barefoot

in California

 

A Christian missionary washes

the feet of a homeless man

in a Vons parking lot

 

This country, indeed this world, with all the changes it is undergoing, can be a confusing, even a bewildering place. And yet through all these changes, all this confusion and strife, Anderson is always at the ready with her notebook, her beautifully chosen details, her unique biography, her faith, and her years of immersion in modern dance and the art and craft of poetry.