Oh what another winner hath landed Holly!
The best thing about him is that he’s jolly.
He ogles young women voraciously
and slurps his coffee rapaciously.
His looks betray that he’s five times your age,
dear Holly, and it takes no sage
to figure out
that he buys his clothes at McDowd.
Those thick, froggy-eyed specs
imply there won't be much sex.
In short, my angel, between you and me,
you are, as usual, barking up the wrong tree.
– Felix Morgenstern (© 2011)
Written for day 10 of NaPoWriMo.
Today, the idea was to “try to write a poem backwards. I don’t mean letter by letter, or word by word, but line by line. Start by writing out an old saying that takes the form of a declarative statement. Like “Birds of a feather flock together,” or “A miss is as good as a mile.” That will be the last line of your poem. The next line you write will be the second-to-last, and so on, until you reach the “beginning.” To help you keep your focus, let’s say that the poem has to be an address to someone or something that can’t answer back – a person who is absent, or an animal or inanimate object.”
I followed the rules ... well, more or less. I did indeed choose the final saying first. As to the rest, I kept writing new lines and rearranging them to such an extent that I no longer remember what initially was first, second, third, etc.
The address is definitely to someone who is absent – apart from the name, nothing is said about Holly, even though it's clear that she seems to have a serious case of bad judgement.
10.4.11
9.4.11
Malcolm writes
to avoid seeing Marjorie in person as her condition might be contagious:
“Yesterday you wrote in your letter
that you are sick and not feeling better.
I hope this reply with pickle and lime
will give you a much better time.
In the event that this does not work,
I advise you to go see that jerk
down the street who calls himself healer.
He’ll give you a paper for the dealer
of sweet mint-flavored pills
that for sure will cure all your ills.”
– Felix Morgenstern (© 2011)
Written for NaPoWriMo day 9 in response to this: “... today you are encouraged to write a nursery rhyme. 4 to 6 lines, 3-5 accented syllables per line (don’t worry about making them iambs or dactyls or what…as long as your lines are short), and of course, a rhyme or two.”
“Yesterday you wrote in your letter
that you are sick and not feeling better.
I hope this reply with pickle and lime
will give you a much better time.
In the event that this does not work,
I advise you to go see that jerk
down the street who calls himself healer.
He’ll give you a paper for the dealer
of sweet mint-flavored pills
that for sure will cure all your ills.”
– Felix Morgenstern (© 2011)
Written for NaPoWriMo day 9 in response to this: “... today you are encouraged to write a nursery rhyme. 4 to 6 lines, 3-5 accented syllables per line (don’t worry about making them iambs or dactyls or what…as long as your lines are short), and of course, a rhyme or two.”
8.4.11
As if you'd won the lottery
Don't stand there with that shit-eating grin on your face,
my dear, as if you'd just won the red noise prize.
Let me tell you that a fruit's a fruit and a tart's a tart,
and that Annabelle – well, suffice it to say
that I knew her in school, and all to well.
If you know what I mean.
So don't you feed me that 'J'en sais rien' line.
I seen the two of you parked in my car,
and it was rocking.
– Iself (© 2011)
Written for day 8 of NaPoWriMo.
This was written in response to:
"Today’s prompt is a bit of a smorgasbord, and reflects the fact that we are at day seven. It asks you to write a poem with seven different phrases, ideas, or just plain old “things” in it. These are:
1) an example of synasthetic metaphor — one that describes one sensory perception using adjectives more naturally suited to a different sense (e.g., “a red noise,” or a “a bitter touch”)
2) a fruit
3) the name (first or last) of someone you knew in school
4) a rhetorical question
5) a direct address to the poem’s audience — “Reader” or “mom” or “Michelle,” or maybe just “You”)
6) a word in a foreign language
7) a reference to a game of chance (darts or pool or the lottery or etc).
All of these may seem pretty disjointed, and indeed, they’re meant to be. But these kind of little “projects” can work wonders in keeping a poem both lively and concrete, instead of letting it wander off into a forest of abstractions)."
my dear, as if you'd just won the red noise prize.
Let me tell you that a fruit's a fruit and a tart's a tart,
and that Annabelle – well, suffice it to say
that I knew her in school, and all to well.
If you know what I mean.
So don't you feed me that 'J'en sais rien' line.
I seen the two of you parked in my car,
and it was rocking.
– Iself (© 2011)
Written for day 8 of NaPoWriMo.
This was written in response to:
"Today’s prompt is a bit of a smorgasbord, and reflects the fact that we are at day seven. It asks you to write a poem with seven different phrases, ideas, or just plain old “things” in it. These are:
1) an example of synasthetic metaphor — one that describes one sensory perception using adjectives more naturally suited to a different sense (e.g., “a red noise,” or a “a bitter touch”)
2) a fruit
3) the name (first or last) of someone you knew in school
4) a rhetorical question
5) a direct address to the poem’s audience — “Reader” or “mom” or “Michelle,” or maybe just “You”)
6) a word in a foreign language
7) a reference to a game of chance (darts or pool or the lottery or etc).
All of these may seem pretty disjointed, and indeed, they’re meant to be. But these kind of little “projects” can work wonders in keeping a poem both lively and concrete, instead of letting it wander off into a forest of abstractions)."
7.4.11
The Matapedia
What is it?
A road somewhere in Canada?
Shreds from a song
to form an inaccurate picture
"And we raced the Matapedia –
and we were not afraid"
But there is also an unexpected meeting
with room for ample speculation
"He said, 'Oh my God, it's Kate!'
'No, I'm the daughter of Kate.
My name is Martha.
My name is Martha.
Who are you?
Ma never told me about you.'"
Ma never told me about you.'"
And on they race the Matapedia,
with minutes to spare.
I imagine to board a ferry –
a ferry to somewhere or nowhere.
– Iself (© 2011)
Written for NaPoWrimo day 7 in response to the following: "Today’s prompt is one of musical ekphrasis. Ekphrastic poetry comments upon or is inspired by another work of art in a different medium. Most people think of it as a poem inspired by a painting or a sculpture. But it could also be music!"
Lest this remain too cryptic...
As pointed out by vivinfrance in her comment, the Matapedia is a river in Québec, Canada. I still think, however, that the song by Kate and Anna McGarrigle on the album of the same name I'm alluding to must refer to a road running along the river, but I could be wrong. I would assume that the Kate and Martha characters mentioned in the song are Kate McGarrigle and her daughter Martha Wainwright.
Here's a link to the song on Youtube:
Lest this remain too cryptic...
As pointed out by vivinfrance in her comment, the Matapedia is a river in Québec, Canada. I still think, however, that the song by Kate and Anna McGarrigle on the album of the same name I'm alluding to must refer to a road running along the river, but I could be wrong. I would assume that the Kate and Martha characters mentioned in the song are Kate McGarrigle and her daughter Martha Wainwright.
Here's a link to the song on Youtube:
6.4.11
I could feel
I could feel
some melodic drowning
coming on today
with horrid greatness.
With horrid greatness
I could feel
some melodic drowning
coming on today.
– Iself
It's all about oxymorons today, this 6th day of NaPoWriMo, and the ones I used were generated by the Serendipitous Oxymoron Maker at the very first try. And I didn't even need to consult the horoscope today ... it was all right there with horrid greatness ... that melodic drowning, or at least some of it. Beware, oh moron, of oxys.
some melodic drowning
coming on today
with horrid greatness.
With horrid greatness
I could feel
some melodic drowning
coming on today.
– Iself
It's all about oxymorons today, this 6th day of NaPoWriMo, and the ones I used were generated by the Serendipitous Oxymoron Maker at the very first try. And I didn't even need to consult the horoscope today ... it was all right there with horrid greatness ... that melodic drowning, or at least some of it. Beware, oh moron, of oxys.
5.4.11
The 2011 Francisco Cabrera Revolution
We almost missed the revolution.– Paul Hughes
In a nightmarish café
(garish, gaudy lights,
smoke twirls, drone,
laughter, cackling)
in which I'd long given up
trying to listen to anyone
in particular, somebody
raised a glass and shouted
above the din, "Long live
the revolution!"
All I remember after that
is feeling guilty about not
knowing which revolution
this was about. But I did
not dare ask for fear of
appearing uninformed.
Which I am, about most
revolutions nowadays.
– Iself (© 2011)
Written for NaPoWriMo day 5.
The challenge today was to take another participant's poem and riff off of it. The one I riffed off of was one by Paul Hughes titled subway talk part ii (to be read here).
4.4.11
Time Waist
time waist time waist
time waist time waist
ime waist time wais
me waist time wai
e waist time wa
waist time
e waist time wame waist time wai
ime waist time wais
time waist time waist
– Iself
A concrete poem for NaPoWriMo #4.
Not quite a 1-word poem (along the lines of Aram Saroyan's lighght, see NaPoWriMo blog), but the best I could come up with.
3.4.11
Freewheeling
For L.
"There are three fields I work in,"
she said, "performance, video
and drawing." (Her father prompted
with proper suggestions to go on.)
"The performances are exhausting;
they all have to do with ropes,
climbing and descent. I'm not sure
whether they are Apollinian or
Dionysian, something else I have
been interested in. In one, I cut
a bowling alley in half, making holes
in the walls left and right at about
half height to hold the rings
for my rope. I went along towards
my audience, it was both strenuous
and exhilarating. Sometimes
I caught myself wanting to laugh:
what were all these people doing,
watching me with serious eyes
as I went along." Her father prompted,
"And one of your videos was..."
"... dancing along an ugly street
in funny yellow pants. I did many
iterations of this, varying my steps,
arm movements and behavior.
A friend of mine did the filming.
Mostly the people seemed per-
plexed, not knowing what to think
of this crazy person doing this,
making way, moving aside. Not
stopping." "Is there any money
in this?" somebody asked.
"In the videos? – I suppose
they could be sold. Or the drawings
I do – that's my third field
of activity." "And how do you
do them?" her father prompted.
"I make myself rules, I restrict
myself. One drawing might be
only boxes, for example, in only
five colors, but with other rules,
to increase complexity." "And
these you would sell, there is
a market for that?" her father said.
"There is a market, and, once
it has found you, it wants you
to repeat yourself. I could become
the colored box lady,
or the rope performer, or
the hip-hop dancer of dreary
streets, both Apollinian and
Dionysian." Thus ended Lou,
to soon perform an acte
morpheusien for a change.
– Iself (© 2011)
A freewheeling act for NaPoWriMo #3, concocted fresh from the lips of Lou herself last night.
2.4.11
Poems and antipoems
I’m surrounded by books,
many of which I haven’t looked at in years.
Not even been aware of.
They stand there not making a peep,
even the Long Talking Bad Conditions Blues.
How funny to note books owned
for decades with renewed surprise.
In the case of Nicanor Parra
I remember a conversation with Paula and Eduardo
from earlier this year about the great Chilean poets,
during which I quoted from Violeta Parra’s
Cueca de los poetas:
Pero el más gallo se llama
Pablo Neruda
Huifa ay ay.
...
Corre que ya te agarra
Nicanor Parra.
But the shelves I’m looking at
also carry more pedestrian stuff,
like the Dictionary of Legal,
Commercial and Political Terms.
Now that one I’ve touched more
often than the antipoems or
condition blues because I need it
for a living. Even though the poor
thing has been mostly superseded
by online sources as many
of its brothers in shelf.
Today I declare the still life
blues day for printed outdated
dictionaries, poems and antipoems
online and shelved.
– Iself (© 2011)
NaPoWriMo 2011 #2
Written upon inspiration by this (at NaPoWriMo):
"Write a poem that incorporates the titles of three books you have in your house."
The books are:
Nicanor Parra, Poems and Antipoems
Ronald Sukenick*, Long Talking Bad Conditions Blues
Dietl/Moss/Lorenz, Dictionary of Legal, Commercial and Political Terms
Singer, song writer, writer and artist Violeta Para (1917-1967) was Nicanor Parra's sister.
*Ron Sukenick (1932-2004) was one of my teachers at the University of Colorado.
many of which I haven’t looked at in years.
Not even been aware of.
They stand there not making a peep,
even the Long Talking Bad Conditions Blues.
How funny to note books owned
for decades with renewed surprise.
In the case of Nicanor Parra
I remember a conversation with Paula and Eduardo
from earlier this year about the great Chilean poets,
during which I quoted from Violeta Parra’s
Cueca de los poetas:
Pero el más gallo se llama
Pablo Neruda
Huifa ay ay.
...
Corre que ya te agarra
Nicanor Parra.
But the shelves I’m looking at
also carry more pedestrian stuff,
like the Dictionary of Legal,
Commercial and Political Terms.
Now that one I’ve touched more
often than the antipoems or
condition blues because I need it
for a living. Even though the poor
thing has been mostly superseded
by online sources as many
of its brothers in shelf.
Today I declare the still life
blues day for printed outdated
dictionaries, poems and antipoems
online and shelved.
– Iself (© 2011)
NaPoWriMo 2011 #2
Written upon inspiration by this (at NaPoWriMo):
"Write a poem that incorporates the titles of three books you have in your house."
The books are:
Nicanor Parra, Poems and Antipoems
Ronald Sukenick*, Long Talking Bad Conditions Blues
Dietl/Moss/Lorenz, Dictionary of Legal, Commercial and Political Terms
Singer, song writer, writer and artist Violeta Para (1917-1967) was Nicanor Parra's sister.
*Ron Sukenick (1932-2004) was one of my teachers at the University of Colorado.
1.4.11
Haze
That purple haze
finally appears to be lifting.
Jimi chords are coming closer,
the distortion is ebbing away.
Soon there will only be one sound left –
that of one clear, springy string.
– Iself (© 2011)
NaPoWriMo 2011 #1
Written based on the suggestion "Use a color as your title."
The color that immediately came to my mind was "hazy" – because I've been in a haze of sorts. And then, of course, it became clearer right away, because of Purple Haze.
finally appears to be lifting.
Jimi chords are coming closer,
the distortion is ebbing away.
Soon there will only be one sound left –
that of one clear, springy string.
– Iself (© 2011)
NaPoWriMo 2011 #1
Written based on the suggestion "Use a color as your title."
The color that immediately came to my mind was "hazy" – because I've been in a haze of sorts. And then, of course, it became clearer right away, because of Purple Haze.
19.3.11
Der rote Schubkarren
so viel hängt ab
von
einem roten Schub-
karren
besprengt mit Regen-
wasser
bei den weißen
Hühnern.
– William Carlos Williams
Ins Deutsche gebracht von Johannes Beilharz (© der Übersetzung 2011).
Original: The red wheelbarrow
Eloge an WCW
Respektlose Nachbemerkung
Was genau von den obigen poetischen Gegebenheiten abhängt, konnte bisher noch nicht hinreichend geklärt werden, gehört jedoch eindeutig ins Reich der Philosophie.
von
einem roten Schub-
karren
besprengt mit Regen-
wasser
bei den weißen
Hühnern.
– William Carlos Williams
Ins Deutsche gebracht von Johannes Beilharz (© der Übersetzung 2011).
Original: The red wheelbarrow
Eloge an WCW
Respektlose Nachbemerkung
Was genau von den obigen poetischen Gegebenheiten abhängt, konnte bisher noch nicht hinreichend geklärt werden, gehört jedoch eindeutig ins Reich der Philosophie.
The Red Wheelbarrow
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
– William Carlos Williams
Deutsche Übertragung
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
– William Carlos Williams
Deutsche Übertragung
Eloge an WCW
Was von dem roten
Schubkarren und
den weißen Hühnern
abhängt, konnte noch
nicht definitiv geklärt
werden. Was Regen
anrichten kann, das ist
hinreichend bekannt.
– Johannes Beilharz (© 2011)
Bezieht sich auf das häufig zitierte Gedicht von William Carlos Williams, The Red Wheelbarrow (Der rote Schubkarren).
Schubkarren und
den weißen Hühnern
abhängt, konnte noch
nicht definitiv geklärt
werden. Was Regen
anrichten kann, das ist
hinreichend bekannt.
– Johannes Beilharz (© 2011)
Bezieht sich auf das häufig zitierte Gedicht von William Carlos Williams, The Red Wheelbarrow (Der rote Schubkarren).
Pijushakanti Sarkar
Ein veristisches Gedicht*
Hier kommt nichts vor, das es nicht
in unmittelbarer Umgebung gibt.
Die Stimme des Pijushakanti Sarkar
aus Bengalen wird herbeigetragen
auf mp3 und Laptop. Eine elektrische
Lampe aus gebürstetem Edelstahl
mit Mattglasschirm steht unbeleuchtet
dabei. Die Leuchtkraft durch die Fenster
reicht trotz der gesättigten Grauheit
da draußen aus. Die Sonne
ist unsichtbar. Dank Wissenschaft
wissen wir jedoch, dass sie trotzdem
da ist. Stühlerücken unter mir,
Bewegungen, Gänge, Gespräch.
Nichts Unruhiges, die beiden Kinder
kreischen nicht, die Eltern schimpfen
nicht. Da draußen ist auch ein Nieseln,
in das ich in Kürze hinaus muss.
Hier kommt nichts vor, das es nicht
in unmittelbarer Umgebung gibt.
Alles ist eine Frage von Beziehungen,
des in Bezug Setzens. Oder auch nicht.
– Johannes Beilharz (© 2011)
*Veristische Gedichte (gemäß meiner Erfindung) bedienen sich ausschließlich bei dem in nächster Nähe Befindlichen. Sie sind darin Lebensmittelläden ähnlich, in denen nur Produkte aus der unmittelbaren Umgebung angeboten werden. Sie bedienen sich auch ein bisschen bei William Carlos Williams und dessen “No ideas but in things” (oder vielleicht auch bei den Meistern der Reluktanz, deren abgekürztes Diktum “No ideas” oder vielleicht gar “No idea” zu lauten scheint).
Hier kommt nichts vor, das es nicht
in unmittelbarer Umgebung gibt.
Die Stimme des Pijushakanti Sarkar
aus Bengalen wird herbeigetragen
auf mp3 und Laptop. Eine elektrische
Lampe aus gebürstetem Edelstahl
mit Mattglasschirm steht unbeleuchtet
dabei. Die Leuchtkraft durch die Fenster
reicht trotz der gesättigten Grauheit
da draußen aus. Die Sonne
ist unsichtbar. Dank Wissenschaft
wissen wir jedoch, dass sie trotzdem
da ist. Stühlerücken unter mir,
Bewegungen, Gänge, Gespräch.
Nichts Unruhiges, die beiden Kinder
kreischen nicht, die Eltern schimpfen
nicht. Da draußen ist auch ein Nieseln,
in das ich in Kürze hinaus muss.
Hier kommt nichts vor, das es nicht
in unmittelbarer Umgebung gibt.
Alles ist eine Frage von Beziehungen,
des in Bezug Setzens. Oder auch nicht.
– Johannes Beilharz (© 2011)
*Veristische Gedichte (gemäß meiner Erfindung) bedienen sich ausschließlich bei dem in nächster Nähe Befindlichen. Sie sind darin Lebensmittelläden ähnlich, in denen nur Produkte aus der unmittelbaren Umgebung angeboten werden. Sie bedienen sich auch ein bisschen bei William Carlos Williams und dessen “No ideas but in things” (oder vielleicht auch bei den Meistern der Reluktanz, deren abgekürztes Diktum “No ideas” oder vielleicht gar “No idea” zu lauten scheint).
8.1.11
Spielende rollende Augen
Die Augen, jene wie es nun sei,
Sie spielen im Prinzip auch verspielt!
Sie rollen!
Aristophanes, staune und flieh!
Welch göttliches Glück!
Augen!
Spielende Augen für Aristophanes.
– Iself & Poetron
Zur Genesis dieses Gedichts
Wenn einem selbst nichts einfällt, kann man sich an Poetron wenden, und der dichtet! Gefüttert habe ich ihn mit den Wörtern Aristophanes, Auge, spielen, verspielt. Und er hat was daraus gemacht, findet ihr nicht?
Neulich wurde ich zur Teilnahme an einem Workshop aufgefordert, der einem beibringt, Gedichte zu schreiben, die einen umhauen. Auf die Teilnahme musste ich leider verzichten, weil die Veranstaltung in Illinois oder Iowa oder sonstwo im Mittleren Westen stattfindet. Aber lernen würde ich das natürlich schon gern. Man denke nur: Gedichte, die einen umhauen! Sowas hab ich schon lang nicht mehr gelesen.
Sie spielen im Prinzip auch verspielt!
Sie rollen!
Aristophanes, staune und flieh!
Welch göttliches Glück!
Augen!
Spielende Augen für Aristophanes.
– Iself & Poetron
Zur Genesis dieses Gedichts
Wenn einem selbst nichts einfällt, kann man sich an Poetron wenden, und der dichtet! Gefüttert habe ich ihn mit den Wörtern Aristophanes, Auge, spielen, verspielt. Und er hat was daraus gemacht, findet ihr nicht?
Neulich wurde ich zur Teilnahme an einem Workshop aufgefordert, der einem beibringt, Gedichte zu schreiben, die einen umhauen. Auf die Teilnahme musste ich leider verzichten, weil die Veranstaltung in Illinois oder Iowa oder sonstwo im Mittleren Westen stattfindet. Aber lernen würde ich das natürlich schon gern. Man denke nur: Gedichte, die einen umhauen! Sowas hab ich schon lang nicht mehr gelesen.
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