Skip to main content

poem for my 59th birthday

The currency I traded in

Is bearish now, at fifty-nine

My volatility index has squandered

Its lows and highs, is in decline –

The lyric force is muted by the times,

Which lie like bricklayers build brick

To brick – as that song went, another

 

And another – that was the image,

If I recall, from dark gyms, at fourteen

Or so, terrified to dance slow, or quick,

With those around me on the walls;

Music, that brings us back to ourselves,

Takes us out to sea as well,

Like a drug that can murder or revive;

 

What language can I use to defend a form,

A rhetoric, even, that has been designed

To crush whole peoples, sign by sign?

Tanks roll on, drones scour the air like hawks,

To hurt the ones below, but only poetry kills

By sound or fine-bonded lines. To me,

What’s serene or boundless in a poem thrills,

 

But it advances in English, crushes like a love

That will not slow dance to urgency in grade nine.

The world was bad in sixty-six, has always been,

One supposes, ruled by the maniac fixed on deformities

Of the soul, that no plastic arts can reshape to good;

But at this peak of my presence, albeit stumbling,

I can locate, as if to blow apart, on the unsafe ground,

 

A collective malice in the blood, like perfume,

Except an odour of varied virulent sprays, wafting

Over borders like a gas; what can we do, who mask

Ourselves with words, to play for better futures?

I have listened to the sleepless inkwell night,

And dipping into the inexplicable infinites of minus

Light, have understood a signal from the solar winds:

 

It says, in no language but of mathematics, or the divine,

As if Bach had been a hole that whorled back into sight,

Bring on the great floods, make the world without form again,

So in the weird stillness before creation a differing biology

Can think itself into manifestation on an open canvass,

Rebirth of all that struggles, fights knives out, without cease;

As kindness is a primary symptom of both love and peace.


April 8, 2025

Comments

Popular posts from this blog

A  poem for my mother, July 15 When she was dying And I was in a different country I dreamt I was there with her Flying over the ocean very quickly, And arriving in the room like a dream And I was a dream, but the meaning was more Than a dream has – it was a moving over time And land, over water, to get love across Fast enough, to be there, before she died, To lean over the small, huddled figure, In the dark, and without bothering her Even with apologies, and be a kiss in the air, A dream of a kiss, or even less, the thought of one, And when I woke, none of this had happened, She was still far distant, and we had not spoken.

Poetry vs. Literature

Poetry is, of course, a part of literature. But, increasingly, over the 20th century, it has become marginalised - and, famously, has less of an audience than "before". I think that, when one considers the sort of criticism levelled against Seamus Heaney and "mainstream poetry", by poet-critics like Jeffrey Side , one ought to see the wider context for poetry in the "Anglo-Saxon" world. This phrase was used by one of the UK's leading literary cultural figures, in a private conversation recently, when they spoke eloquently about the supremacy of "Anglo-Saxon novels" and their impressive command of narrative. My heart sank as I listened, for what became clear to me, in a flash, is that nothing has changed since Victorian England (for some in the literary establishment). Britain (now allied to America) and the English language with its marvellous fiction machine, still rule the waves. I personally find this an uncomfortable position - but when ...

IQ AND THE POETS - ARE YOU SMART?

When you open your mouth to speak, are you smart?  A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional.  Basically, it goes like this: once you are safely dead, it no longer matters how smart you were.  For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ?  Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets.  But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ?  How smart could Pound be with his madcap views? Less intelligent poets are often more popular.  John Betjeman was not a very smart poet, per se....