Thursday, October 20, 2016

MARY OLIVER UPSTREAM ~





Penguin 2016







Mary Oliver lived for fifty years in Provincetown, MA. and has written beautifully about that location including in this new book with a short essay devoted to Provincetown.
However, perhaps her best essay to Provincetown, to a seashore life, to the sea
will be found in this book and the essay "Bird." 
It's unforgettable.

[ BA ]




Wednesday, October 19, 2016

PATRICIA SMITH ~









A Poem for the Man Who Shot My Father



I don't know where you are now,
so for the purposes of this poem
I will imagine you dead.
The circumstances of your death,
of course,
should be ironic. A bullet smashes into
the back of your skull. A bullet
smashes into the back
of your skull. A bullet smashes into the back
of your skull. A coincidence.


For the purpose of this poem, but only
for the purposes
of this poem,
I will imagine you in hell
where you are doused and torched
each second, every second,
and you feel it all;
you feel everything.


For the purposes of this poem
I would like you to describe
my father's face
the moment he turned
and saw you          
                    wild-eyed and thirsty
the moment when he knew
the moment before he turned away
to run, to run


And for the purposes
of this poem, I would like to hold
that picture in my head. I would like to live
over
and
over
again
that look of an animal trapped
in the headlights


because, even though
I have imagined you dead,
you are probably not too dead to remember
that there is a hell
here too.


_____________________

Patricia Smith
C L O S E     T O     D E A T H
Zoland Books, 1993






Tuesday, October 18, 2016

Monday, October 17, 2016

ONCE IN VERMONT ~









Once In Vermont


By the clamor and sounds
One could imagine there was
A mob of trucks and other
Vehicles pulled into the
Farmyard, but it wasn’t at all
That way when I got there.
This was a long time ago.
To the life of an old timer
Or the valley and river itself
Running through, it was only
As old as yesterday.
But I was young and so was
The teenage boy, and his father
Clayton was living down
There alone with the boy after
His wife moved out and only
A few years more before
Clayton was also gone with
A new wife and the boy would
Be old enough to marry — and
Come to think of it — I would
Around then be married, too.


It was a Saturday morning,
Clear sky open autumn day,
Trees shaken of leaves
Except for the oaks on
Owls Head Mountain
Which always held its leaves
Into deer hunting season.
I was a friend with Clayton and
His son, or at least they were
My friends since I was a newcomer
To the valley and didn’t at all
Mind helping out with their farm
Chores…walking right off the road
If they were haying, spending an
Afternoon stacking clumsy bales onto
A flat wagon and later throwing its
Load up into the barn loft hatch.
Everything built from scrap, cut
Trees for timber, salvaged shingles
And boards saved from carpentry
Jobs to finish their own house —
Pay was enough to eat,
Buy gas, keep things running.


It was the double shotgun blast
That made me curious to visit.
Both shots brilliant and decided
At ten in the morning — no way to hide it —
No one down here really to hear it.
I walked the gravel driveway between
Upper mowings before it dipped
Into the farm door yard and for all
Gun play and engine commotion
It took a moment to find where
It was coming from. Off
To one corner of the field, in
Shade of the pole barn and a few
Dead hardwood trees I caught sight
Of father and son bending down
In swift work to the far side of
A small tractor. And then one
More shotgun blast. Surrounding
All meaning of sound, making me
A little edgy if it wasn’t too late
To back step away and forget what it
Was I had no idea . . .


And that’s what took me further.
The boy saw me first, glancing
To his father who casually
Raised his head and nodded up
Hello. By then I was to the
Tractor…saw the luster of
Blood on their leg trousers and
Boots, rifle leaned against
The pitted tire, chain saw
Streaked in blood and sticky dirt,
The six and maybe I counted seven
Legs of cows, innards in a pile,
The unforgettable sensation of being
Bathed in the living, and surprised
At not suffocating in this unexpected
Horror — I mean the river is
Startling beautiful 50 feet away,
Yet there is a glory all its own
Right here — making food. It’s uncouth,
Rotten, the rifle much too big for
The business, but there is
No mistake of the shot.


I would stay long enough for one last
Leg sawn off the trunk body
Later carved open and emptied —
Two cow heads rolled off into
Tall grass like the burled
Elm stumps that won’t split, but those
Heads have faces looking worse dumbfounded.
The pack of mother dog and puppies
Roost in them for days.
It’s just food for winter and
What happens. Next weekend
Clayton and his son might tear down
The tractor or rig the plow
On the jeep made ready
For first snow. Finally haul
Down firewood from the hills.
I came by for a short visit
And got one. Knew the job
Was done when Clayton took
Out his pipe and re-lit the
Bowl, breathing peacefully
Over his work.



_____________________

B O B      A R N O L D
Once In Vermont
Gnomon

                                  photo ~ Susan Arnold 2016
                               

















Sunday, October 16, 2016

EARTHRISE ~






The full moon always has me with rightful energy, perhaps the werewolf in me? So last night,
or early morning, last night at 1:15, I stepped out into the clear white wash of full moonlight.
White grass, white dirt back road, white through all the woods, and feeling terrific in a t-shirt
at 29 degrees. I just had to make sure Kokomo our cat didn't get out with me, he wanted to,
there by the glass door peering out at me having all the fun.

So as I looked up at the moon and its light, long ago astronaut William Anders stood on the moon
and took this photograph of mother earth. . .where we're having all the trouble with Trump and Putin
and taxes and harrowing politics and media and climate change and one squabble after another squabble.

However, Anders photograph, and imagine him having the opportunity to see this! seems to say:
"I don't think so."

Mother Earth.

[ BA ]




NASA Apollo 8, December 24, 1968
___________________________
Earthrise is a photograph of the Earth
 and parts of the Moon's surface taken by
 astronaut William Anders in 1968, 
during the Apollo 8 mission. 
Nature photographer Galen Rowell declared it 
"the most influential environmental photograph ever taken."







EVERYTHING HERE IS PERFECT ~












Saturday, October 15, 2016

ARCHEOPHONICS ~







Release the Darkness to New Lichen


But I found a way to say no 

to the wood in my house



it kept creaking

wouldn't stop talking



I found a way to say no



I need to be standing

in the warmth of the wood

that the sun made



I need to find myself dissolving



otherwise it is all otherwise

I'm lost, did I say that



I saw the frill of light today

walking on the path



could you hear the stirring

in the wood, pine needles

and the branches



was it wind or a creature  am I here or is it over



this was the first day

the nothing day

in the nothing year



it gave me courage



it gave hints of blue,

clouds, electrical

and dancing



it gave me rays

Ive never seen



shooting down

touching things



this was the first day



______________

P E T E R      G I Z Z I
Archeophonics
WESLEYAN 2016



photo ~ golden moon glow lichen



Friday, October 14, 2016

DUSTY. . .DEFINITELY ~









Philips (UK) never released this classic gem to the USA.
It was Springfield's last album on the label.
August 1968







I can't leave Dusty Springfield without playing "No Easy Way Down"
from her seminal album Dusty in Memphis.
"Son of a Preacher Man"
that John Hurly and Ronnie Wilkins wrote for Aretha Franklin
(the daughter of a preacher man) but she curiously rejected the song
(and picked it up again in 1970) whereas Springfield garnered herself a hit is also on this album, better known, but "No Easy Way Down"
kills it for me every time.







TIME TO LISTEN ~






Thursday, October 13, 2016

BOB DYLAN ~








Bob Dylan Wins Nobel Prize in Literature







Early Dylan photograph ala "Blowin' in the Wind"
(1963)




JOHNNY'S IN THE BASEMENT






HIGH WATER







MR TAMBOURINE MAN






DYLAN INTERVIEW 1965





JACK ON BOB





THE BAND SINGS DYLAN






CIVIL WAR BOB







ODETTA SINGS DYLAN





SERIES OF DREAMS




DYLAN SINGS WOODY (1961)





NOW!






THE ROME INTERVIEW





















cover: malika favre







KENTUCKY RENAISSANCE ~











Ralph Eugene Meatyard, Jonathan Williams, Thomas Merton
Guy Davenport, Jonathan Greene, Wendell Berry,
Van Deren Coke, Robert C. May
James Baker Hall, Cranston Ritchie

A terrific book!



Cincinnati Art Museum
Yale University
2  0  1  6




Wednesday, October 12, 2016

AMELIA ROSSELLI ~







Stretched out on the ground I stabbed my best friend. But
business stayed what it was. I picked up my best friend
and he gave me no end of grief, light in the ears
that wouldn't be scandalized. The great glory
ended in a bottle of brandy. In a bottle of
brandy ended the story of the shark who couldn't
stand a mess. The ascent was over but the great god
wouldn't readily shoulder great loads uselessly. Going back
home the trees were very delicate. I was very delicate going
back home! I lay on my back like a fly smeared with
honey. He was my exceedingly weak king I his queen covered
with blood. You are my exceedingly weak king covered in purple!

Let's close an eye to the mafia of painters. Let's close
our eyelids to the ladies' blouses. Let's close up
shop and disappear. We'll disappear in the mist with a pistol
shot at the ground.






The mind that brakes and determines itself is a nice game.
Cosmopolitan wisdom is the best perhaps of our
canastas. The mind that determines itself is perhaps
a fake game? Convinced of the contrary I pondered
the internal crisis of the country and observed flowing
into the great river of the city a tin of sardines.






For the windbag that I was I demand to be alive. In the windbag
that lives I demand to be inscribed. In the windbag that dies
boredom dies. You may be innocent yes: but the dawn is better
at target shooting.






Against every empire a need for order ruled. Against
every planet the need for freedom was imperative. With
childishness the night still ruled whispering
words perhaps bitter. With training of the stingy relative
the rebels' revolver got moving. With the light on
the catarrh got moving the old woolen thread rolled up in the
substance of the estate. I heard the watchmakers' voices wound up
but the world's fiber was the most constant measure of my
disease! It was the strongest substance of my belief.






If in divine love there's someone who pays the way it isn't for nothing
that I sing. If in love people leave one another and take one another
it isn't for nothing that I climb mountains. If in the mountain
there are those who look for those who sneer, it isn't for nothing I
fall at feet of the first passerby.






For the love I brought you you saw clearly. If in the afternoon
there was a bell, it was for you — In the afternoon I saw
clearly! If in the passage of the moon there was gangrene
it was for you. Against all evil seeing and knowing. Not to
die an escapade was necessary once in a while. The neighborhood
became pale pale and its waiting was all a sleep.
The unapproachable neighborhood was always awake. The doctor's
pill was necessary to remember. I lived among
saints yet remained saintly. The chorally within me awoke
yearning. The whole world was a huge yearning! Behold the
world awakening within me like a wide unconscious boat.
Behold the world telling me it's time to sleep. Behold the
world knocking at my door and I not answering. Behold the drudgery
that doesn't help anyone. Behold it's time to shine.






Love permitting I stretched out very pretty on the giant
king-sized bed waiting for some secret. Secrecy
and jealousy were born of long withheld modesty and the candy
exploded of inviolable feeling between two strangers.
The long withheld imagination succumbed under the
weight of the reveler disguised as a tearful servant in waiting.






For the coastline of your tears I wet a whole carpet.






Convinced of being faithful to you I betrayed within me joy
and sorrow: equidistant equinox that kept me away from
the sea, from the smell of the woods that are your calm
my tide of dreams.






Seek me and take flight.






The door of pain opened. Without eyes I foresaw
disaster.

Without honor it was impossible to mix up
the cards. . .






       The way of my walk was a delicate silver
flame, o girlishness that awakes when
all the ships have raised anchor! Way of my
girlishness against a scarlet sky. So the
dance of death unfolded: hours of prayer
and fasting, whole hours that now break
on the thorny walk and the wet beach, moving
ice.


___________________________


Amelia Rosselli
W A R     V A R I A T I O N S
Otis Books /Seismicity Editions
Otis College of Art and Design
2016

Amelia Rosselli (1930–1996), often said to be one of the best Italian writers of her generation, was heavily influenced by traumatic events in her youth. When Rosselli was only seven, her father and uncle, two leaders of the anti-Fascist Resistance, were brutally assassinated by the Fascist secret service. Then, when she was seventeen, her mother died and Rosselli suffered her first nervous breakdown. The deaths of her parents left her with lifelong paranoia, depression and what she called an emotional void. Born into exile, she grew up between France, England, and the United States before returning to Italy in 1946. She studied music, composition, as well as ethnomusicology and published several essays on music. Rosselli also worked as a literary translator and among the poets she translated were Emily Dickinson and Sylvia Plath. During her lifetime Rosselli wrote eight poetry collections, with verses in English, French, and Italian, and tried to make sense of the post-war world. She was associated with several neo-avant-garde poetry movements in the 60s and 70s. At a time when the confessional mode was quite popular, Rosselli sought objectivism in her work, and was influenced by Eugenio Montale, Cesare Pavese, and Giuseppe Ungaretti. Rosselli took her life in 1996 on the anniversary of Sylvia Plath’s suicide.

N E W     D I R E C T I O N S     P U B L I S H E R S