Wednesday, February 13, 2013

Poems & Prose

Hand-in-Hand We Talk
By Murchadha
Who knew . . .
By Murchadha
By Murchadha
Digitalis
By Doug Logan
By Doug Logan
By Murchadha
By Therese Halscheid
By Murchadha
By Murchadha
By Darcy Cummings
By Anne-Marie Levine
By Murchadha
By Murchadha
By Elaine Terranova
By Anne-Marie Levine
By Dorothea Grossman
By Dorothea Grossman
By Elizabeth Brunazzi
By Doug Logan
By Murchadha
By Murchadha
By Murchadha
By Yaakov
By Murchadha
By Murchadha
By Murchadha

Reviews & Interviews

Michael Robins--Interview Plus Review
By Catherine Theis and Virginia Konchan
By Elaine Terranova and Yaakov
By Elaine Terranova
By Elaine Terranova
By Elaine Terranova
By Yaakov
By Yaakov
By Murchadha

By Elaine Terranova
Revolutionary Grammar
By Murchadha

Wallace Stevens, Philosopher
By Murchadha
By Murchadha
By Murchadha
By Yaakov
By Yaakov
By Yaakov
By Murchadha
By Murchadha
By Yaakov
By Murchadha
By Murchadha
By Murchadha
By Murchadha
By Yaakov

Tuesday, February 12, 2013

Hand-in-Hand We Talk

Hand-in-hand with steady steps we walk,
     And steady is our talk:

          Look at this! Look at that!
          This paint's just wrong.
          That house was sold.
          The wind is strong.
          Are you still cold?
          I should have worn a hat.

Talk of neighborhood and politics
     And families for sure,
Plain talk, quiet talk, small talk, steady talk,
     For all our ills a cure.

We walk along our daily course
And language is our vital force.




Monday, December 31, 2012

Tribute to Dottie Grossman: L.A. Poetry & Jazz Trip, by Elaine Terranova

I bet that skinny broken thing down there is a river. Everything looks like a petroglyph from the air, some signal to the universe. Traveling, I decide, is like living except that you are doing it in such a restricted space. Everything you need is in the case that's beside you or under the seat. Maybe it contains your ventriloquist dummy or your hoard of treasure. But probably only the equipment you require, comb, soap, floss, to remain who you are even under distressed circumstances.

            I wonder as we land, will I find the person who is meeting me, will they find me? And yes, at the end of the secure area, while I am scarcely awake, shoes still untied, just like in the movies there is someone holding a printed sign bearing my name. It's Fred Fitzgerald, a stage-managing intern at CalArts, nice man with a beard and pony tail and beautiful forearm tattoos, who drives me for the half hour freeway ride to Bonnie's house, Mexican music on the SUV radio. It's 100 degrees and I take off my sweater quickly, not wanting to miss the view, palm trees, treeless mountains, bald stone, gray-gold, oleander. I am here to read, not my poems but my friend Dottie's. Dorothea Grossman, writing for 50 years but just recently on the map of poetry, you could say, with a feature in Poetry magazine and their Wood prize for 2010. Her first commercially published book, The Fun of Speaking English, has come out from Coffeetown Press in June, a month after her sudden death. And in October this Call and Response gig with her poetry and jazz partner, trombonist Michael Vlatkovich, at CalArts Redcat Theater in Disney Hall. They were scheduled on a joint bill with the avant garde singer, Bonnie Barnett. Now Dottie's part will be a tribute and I will be reading in her place.

            So many jumbled emotions in me, foremost sadness, but also excitement, fatigue. And not a little fear. Boy, they all drive so fast here, weaving in and out of lanes, but Fred is unflappable and we get to Van Nuys, a little community trimmed with flowering bushes, just fine. When I ask Bonnie later if that red stuff in front of the houses is bougainvillea, she says, That sounds like the start of a poem by Dottie. Bonnie's house is nestled in eucalyptus, why do different parts of the country smell so different? Little white house, big leather living room furniture, pretty calico maybe partly Siamese cat, Pooky. Bonnie greets me, shows me to the little guest room recently vacated by the guitarist, Anders Nilsson, who will accompany her at the gig. Nice firm single bed, books piled on books, fantasy and mystery mostly, maybe inspiration for the invented syllables of her musical pieces, boxes on boxes of cds, a lamp on a box. The bedroom door is festooned with teenage memorabilia of Richard's, her partner's, daughter who has left for college or somewhere.

            Bonnie and I sit and talk. Richard Wood arrives, a friendly guy with a mop of black hair. I'm a total stranger and a little nervous taking up residence here like this, but they are both welcoming. I have been admiring the various CDs out and around, mostly his, Bonnie tells me, Dylan, Joe Williams, Howling Wolf?, Kerouac reciting his poems to a jazz accompaniment by Steve Allen, also a DVD of Marshall McLuhan giving some talks. Richard is a sax and flute player and I find out how good he is from the CD I take home with me, but today he has been cooking. The Recession has hit pretty hard here, and he and Bonnie have lost their long-time day jobs, hers as a legal secretary and his, chef at a special-ed school. So he temps at the cafeteria of the Jet Propulsion Lab at Cal Tech, which sounds pretty interesting. He winds down with some wine and seems disappointed when I don't join him, but I'm so jet lagged I think I would pass out. Californians are so proud of their food and wine and for good reason. It's 4 by now. I see I'm not going to make it to dinner and when Richard says, are you hungry? I sit down to a delicious noodle dish already in their fridge, with tofu he has smoked and a spice mixture ground by him. Also, California avocadoes he takes out of his pocket, as if he is going to juggle them. He tells me they are creamier than Mexican and they are. Richard's a kind of autodidact genius, into all kinds of things. His cooking tips: scramble eggs very slowly for an hour or two, stirring constantly; massage kale to make it more edible.

            Bonnie apologizes for being a little withdrawn, says she always gets this way in the days before a gig. She is a big woman with curly hair and a wide smile. She reminds me of Dottie. She knew the pianist Richard Grossman, Dottie's husband, performs with some of the same musicians. He was, she tells me, a kind of legend in avant garde music in L.A. Bonnie is a jazz DJ and did a show on the Grossmans after Dottie's death, playing some of their CD's and reading Dottie's poems. She has sent me a CD of her own stuff and I'm pretty impressed with how inventive she is, creating almost a new language of disconnected syllables and electronic sounds. She says she loved Dottie's work and courted her friendship. It took a while, Dottie kept to herself after Richard died, but she and Bonnie got close. A year ago, they wrote the grant for this gig together.

            It's Richard's (Bonnie's partner's) 61st birthday and after dinner Bonnie and I go off to Whole Foods, which here is a sprawling hacienda. We buy some little cakes to celebrate. Then I crash and go to bed.

            I discover that Bonnie is a movie lover too and the next morning, we strike out to see the film of the book I read on the plane, The Perks of Being a Wallflower. We drive to the closest theatre, a 16-plex in Burbank. The screen is gigantic, the huge theater has stadium seating, but there are only a handful of people at the 11 a.m. show, all women, maybe unemployed actresses. Bonnie says the size of the screen and theater are not unusual, this is Hollywood. I bring a huge felafel back to her house from Lusy's, their local middle Eastern place in a strip mall, and sit with my really good sandwich and a Joe Williams CD while she goes off to have a lubricating shot in her knee. Richard has left for his temp job at 4 a.m. but I see him when he gets back.

            I am waiting for Lauren Pratt from CalArts to pick me up and take me to the hotel in downtown L.A. Lauren is probably in her 50s, bright, efficient woman with a beautiful tan, tennis player she tells me. She runs the performances at Redcat Theater. She has done work toward a Ph.D. in English and studied with Helen Vendler at Boston U., so we talk about poetry on the way, especially some ideas she has about Gerard Manley Hopkins, and I mention the movie, Margaret, derived from his "Spring and Fall: To a Young Child." She teaches in the music program at CalArts and has courses that prepare performers for their stage lives, like going for interviews and writing resumes. Also dealing with agents. At Redcat, named for Roy and Edna Disney, no doubt funded by them, she is a wonder. She works with stagehands and runs performers back and forth to the hotel, the Standard, a few blocks away, one of the sponsors of the theater, so everyone is booked there. Going to Disney Hall where Redcat is located from the hotel is straight up a giant hill, hence the need for car rides. When Lauren drops me off, she picks up a dapper Italian, Riccardo, to take back to the theater (are all musicians named Richard?--because the drummer at our performance also is, Rich West). She tells me I can come see him and his partner, Tiziana, the Duo Alterno, at Redcat that evening. She will even pick me up when she is picking up Tiziana.

            I am glad to go out again because the hotel room has aspects of a hospital room, mostly plastic and sterile. I practice getting in and out of the bed a few times, which is a mattress on a carpeted pedestal, and can't figure out how to negotiate it, put my slippers on the floor then on the pedestal, and realize I will fall getting down so put the little plastic chair against the bed and try leaning on that as I rise. Later I realize that the other side of the bed is where you are meant to get in and out because the mattress there is flush with the pedestal, and it is almost like getting out of a regular bed. Other questions are the sink faucet that squirts you in the eye, you have to turn it on to a trickle, the blinking pale light of the bathroom, I discover where the switch is, and that to shut the glass wall of the bathroom off from the bedroom and the open blinds, you use the room-width white shower curtain. I think the room should come with a set of instructions, but by the next day I figure it out and even like it.

            I ride back to the theater with Tiziana, a classical soprano, who is very beautiful in her stage makeup. I get to the theater in time to eat at the Disney Hall cafeteria where they make couscous with carob chips, not such a good idea. Then I walk around the Gehry building inside and out, so like a ship, space or sea. The Duo Alterno is fun. They perform Cage and Ives and avant garde Italian composers. That night, Riccardo begins with a Cage piece, "A Flower," that is played on a closed piano, the pitch different on key cover and the board behind it. He gives explanations between pieces in his careful, eccentric English. He is a scholar and critic as well as a pianist, funny too, and he reminds me of Victor Borge. He's wearing a dark, beautifully tailored polished cotton suit, which looks like leather. Tiziana has three changes of clothes. She sings a work called Ophelia from a poem by Heiner Muller that's odd and interesting, a little bloody, and some Ennio Maricone, who is known for soundtracks to spaghetti westerns. Once, she wraps herself in a feather boa and sits on the piano, showing off her legs . Behind them is a screen which for one piece displays the texts and still camera shots of Riccardo's fotosuoni, photos he took that inspire his own compositions. The Duo Alterno has performed everywhere, even Mongolia, and my favorite piece of his was composed in Beijing. It starts with recorded crickets, morphs into ancient Chinese instruments, and then school children at play, the sounds closely connected. Their finale is a concerto for Betty Boop that ends with Tiziana attaching a tail and a leash to Riccardo as he sits at the piano so he can play her dog, Boby, and he trails behind her on all fours as she leads him off the stage. I'm enthusiastic on the ride home from the theater and they are exhausted but grateful.

            When I wake up on Wednesday, I grab a blueberry muffin from the only place around that seems to know what a muffin is, Starbuck's, and head for the public library that hovers on a hill above the hotel. It's a great art deco building. I want to take a tour but can't find the guide, and just wander around on my own. There is even art in the elevator. I go look at the outside, white in brilliant sun. And just across the street, I walk up and up, sometimes taking an escalator, a steep incline where there are buildings at each level. Dottie used to send me e-mails about L.A. architecture, and we would spar about what was art deco, moderne, or beaux art. It's hard to be here without a dialogue with her running in my head. I've been looking for the Biltmore Hotel, which I know she mentioned, isn't that famous old Hollywood? The streets are so wide, I know it's only a block from the library, walk and walk and finally find it. There's a noodle house--something we don't have in Phila.--Sai Sai is the name--with a largely Asian clientele. I slurp udon, covering myself with napkins, having first read the sign in the lobby: The state of California would like to inform me that some of the ingredients in the dishes served may cause cancer and may be especially dangerous to pregnant women. I see signs like this again wherever I eat. You are always forewarned in California.

            I get back to the hotel as one of those famous L.A. car accidents is occurring just outside. Two rough guys in silver cars tap each other on Flower St. The one in front gets out and yells at the driver behind, Fag! The other opens his door but sits where he is. Faggot! he yells even louder. Then they drive off, but not before one of the uniformed parking attendants yells, Hey, Chrissake, I'm gay! It's 2:30. I'm exhausted but just in time for Lauren to pick me up, with Anders Nilsson, the guitarist who preceded me in Bonnie's single bed, and Ken Filiano, a bassist who played with Richard Grossman and reveres him. He has a cute white soul patch on his chin and talks really fast with his own brisk cadence and a Martin Scorcese N.Y. accent. Anders is young, good looking, and Swedish but speaks perfect English. He's wearing a Hawaiian shirt and throws back his head to get his dirty-blond hair out of his eyes. On the ride over he tells me how to pronounce Wallender, because I read those mysteries--with a V and an accent on the second syllable. We're all going to Redcat for sound and light checks. The theater hands there, at least half a dozen, wear shorts and black shirts with the theater logo on them. They are really nice and look in the semidarkness like forest creatures, you can see the whites of their eyes.

            I watch Bonnie's check. She does this deep, guttural scat singing, a chant, loud and with enormous power. She reminds me of an exotic singer from my childhood, Yma Sumac. They used to say she invented her name by spelling her real name backwards, Amy Camus, and that she was really from Queens. Bonnie reads passages from Gary Snyder, appropriately, "Night Song of the Los Angeles Basin," something by Lorca, and Gertrude Stein's "Love Story," all in the same strong, hypnotic voice, repeating words and phrases. I remember the wife and cow lines from Stein. Her performance is an opera where she is the cast and the orchestra at the same time. I can see how much effort it takes, like an opera singer, and how she might get tired just thinking about a performance. But she really meshes with the musicians. Anders is so animated, a sort of 21st century Jimi Hendrix, and Ken, a classy guy, inventive and busy on electric double bass and sound effects, both real pros and they, like the musicians in the Dottie set, are totally improvisational yet completely in synch with the reader/singer and one another. They play the way you do in jazz, but they don't start with a standard and improvise. They improvise from the beginning. Bonnie's back-up musicians accompany her, their music behind her as she sings, so it sounds like a trio, while Dottie in performance read first and then the music would come in, the way I'll do it tonight. Lauren has told me that Bonnie is famous locally for performances of group hums, having done 83 with an audience of as many as 500 people who join her and just hum for an hour or so.

            When it's our turn for the check, I sit on a stool and somebody adjusts the mike. I try to make some sense but kind of sputter as I introduce the first poem of Dottie's and say something about her. Michael Vlatkovich is a big, jovial, courtly guy with a long pigtail, which may be fairly new because I don't think he had it when I read with him and Dottie in a San Diego bookstore a few years ago. He's the reason I'm here. He knew how close Dottie and I were. Michael has a stand on the stage for his trombone, and mutes and plungers and some things I can't identify are on a table near him. Tom McNally is the electric guitarist in our set, a sweet young collegiate looking guy. He's made a kind of altar to Dottie on a stool beside him. There is a picture of her and Richard, in a psychedelic shirt, some incense, the silver flask of bourbon she always had with her when she read, and a perfumed candle. After the check, the musicians decide to go to L.A. Pizza for dinner and I try to tag along. Lauren has another suggestion. She takes me aside, I think you should go back to the hotel and rest, just get room service, decide what you're going to say.

            I see the wisdom of this and she drives me back to the hotel. Paul Rudd is coming out the door with a bunch of other guys and that makes me glad I came back too. I sit and check off poems to read. Dottie must have written a thousand. I know she was able to send 200 when Poetry magazine asked to see them. So many about N.Y. of course; that was the legendary place to us, growing up in Philadelphia. Like that cartoon, where it's just New York City and then the rest of the country. We went to N.Y. to see artists, poets, bands, also movies that never seemed to come to Philadelphia. There in the '60s we spotted and even spoke to Andy Warhol (he bummed a cigarette), Allen Ginsberg, Timothy Leary, John Coltrane. But most of Dottie's poems are set in L.A., where she spent half her life, really, featuring West Coast lures like Cary Grant and sun at Christmas. Sometimes I think the Grossmans went to L.A. to find hummingbirds. But the car, the cross-country trip, inspired Dottie too, gave her material for "Dear Terre Haute," "The Two Times I Loved You Most in a Car," and later, "Mendocino Coast." I'll read these and decide what else, like how many little Henny Youngman poems at a time, what to say about Dottie young, Dottie and Richard in Philadelphia. Then try to figure out how to read. Not sad, I think, just jaunty, matter of fact, no drama, the way Dottie would read her poems.

            I will return with Lauren at 7 in the pickup of Riccardo and Tiziana who need to do an interview at the theater with the L.A. Times (they get a really good review), and they stay to our performance, maybe so they can be driven to a hotel in Valencia afterwards, near CalArts, where they will be performing the following day. But it's good for them to hear Bonnie and they really like her. Dottie's tribute is first on the bill. The drummer, Rich West, arrives. He's a book dealer in his day life, loved Dottie, had a lot to talk to her about. He's short and lively, with long brown hair. He spreads out behind me a drum set and tin cans and some odder things. I realize I will not be able to turn around to see him when we are on without falling off my stool. He tells me later he was sad about this because I did look over at the other two musicians on either side of me. I remember the half dozen e-mails about stage set up that I received but didn't understand or pay attention to. Anyhow, I'm in front, flanked by Michael's trombone and Tom's guitar, Rich behind us. What's a wonder to me, since there's no script and I don't even know for sure which poems I will read, is how tuned in the musicians are. They respond like voices in a conversation. I read the words from one poem, "quiet as elephants," and when I finish, Michael comes out with circus music and they riff on that. The poems are short, maybe 30 seconds sometimes, and the musical answer can be a minute or more. In the Henny Youngman poems, such as: At the bookstore,/ Henny Youngman tells the sales clerk,/ 'I'm in a hurry,/ so I'll just have some haiku', Dottie's imagined punch lines are repeated in the music. Sometimes the drum gets the last word, sometimes the guitar, growling or trailing off. Once or twice, I'm not sure the music's over, and there will be a last note lingering that I cut off without meaning to. Michael usually begins and then the others come in and take his theme someplace else. They are so inventive and cooperative, giving each other room for little solos. The single spotlight that covers us, just right for the pages I'm reading from, also makes it hard to see the audience. I know there are people out there from the coughs and laughter, but it's all black from here. I ask Michael, how full is the theater? as we come on, and he says some of the audience may be masquerading as empty seats.

            After the intermission and Bonnie's performance, Ellen Burr, Dottie's good friend, comes up to me. She has short black hair and wears glasses. She's trim and peppy and says my voice is so like Dottie's--the Phila. accent, I guess--that she can close her eyes and imagine it is Dottie reading. Her husband has been filming us. In the lobby there is Richard Wood with a Romney doll about the size of a big cigar. I don't recognize who it's meant to be at first, and he kids me, saying it's Karl Rove. He and some of the others have watched the first Presidential debate. I like to think the audience would have been bigger if we weren't competing with that. I don't find out how dispiriting the actual debate was until I read the papers the next day, am glad in a way to have missed it. With Richard is Chris Peditto, a writer from Philadelphia. He and I used to read our poetry at the London Pub. He remembers me and shakes my hand. His red-haired wife Barbara is a very well thought of blind artist. I have seen her bright abstracts that feature letters of the alphabet on Bonnie and Richard's walls. Barbara has a brother still in Philly, Elliott Levin, a saxophone player. I know him because we both once had pieces performed on something called New American Radio. Interesting how everything circles back to Philly, like Dottie's life did.

            Michael has suggested a "celebratory nightcap" at the Standard. I am surely the oldest woman at the Bavarian Garden rooftop bar, first time I've been to the top storey, approached by a narrow stairway after the elevator ends. It is only the 13th floor really, about waist high to the skyscrapers clustering around but a great view of them and a cutout moon. I look around for our party but not having any instruments to move, I'm the first here. A tall, muscular guy in some kind of uniform, a bouncer, I guess, comes up because I probably look lost and asks if he can help me. He tells me he's T.J. and wants to know my name, takes my hand to shake it. "Where you from? Philly? Me too!" And wants me to just say if I need anything. It's cooler out this evening, the heat spell has finally broken. I see a table being vacated and grab a stool next to a heat lamp. A waiter comes and brings the lamp even closer. Michael and a pretty woman with a cane, Lisa, arrive. She has a poetry performance group in Albuquerque Michael has played with. Ken and Rich West and Anders join us. Anders hasn't brought a jacket and gets even closer to the heat lamp than I have been, until the edges of his ears turn red. Ken has posted a great piece about Dottie on Mark Webber's website dedicated to her. He says now he's writing something longer. It's 12:30, I have to leave at 6:00 a.m. for the airport, so sort of fade out. Michael is somehow stuck with the tab, $8 for my ginger ale alone, but won't take money from anyone. He talks about working with poets--I can see that performing with Dottie has meant so much to him all these years--and how he likes it because it makes him think, and the others agree that it gives them musical ideas.

 

 

 

 

Monday, December 3, 2012

Who knew . . .


. . . that no language is intrinsically poetic?
. . . that mere lineation is a creative act?
. . . that poetry proceeds from imagination?
. . . that found poetry has a philosophical undercarriage?

STC knew, is who.


Saturday, September 1, 2012

Michael Robins--Interview Plus Review

Michael Robins’ The Next Settlement (UNT 2007) received the Vassar Miller Prize in Poetry. His Ladies & Gentlemen (Saturnalia 2011), reviewed below, mixes an imaginative richness with a precise yet wide-ranging exploration of kindness and conscience.  Catherine Theis conducted the interview. Virginia Konchan wrote the review. 


 INTERVIEW

Catherine Theis: I’ve been reading your latest book, Ladies & Gentleman (Saturnalia Books, 2011), and I can’t help but feel the presence of Wallace Stevens, especially since the use of couplets reminds me of Stevens’ own obsession with dualities—mind versus body, nature versus civilization, presence versus absence. I’m curious, is Stevens an influence? What’s your favorite poem of his?

 

Michael Robins: These are great opening questions–you’re not the first to pair my work with Wallace Stevens–yet I struggle with the comparison: I want to be influenced by Stevens, want to say that his work has, at some point, unveiled all that’s possible in poetry, and I want to join those whose work I admire and who’ve cited him as a central influence. I’ve consciously struggled with memory since I was a boy: I lose much of the day before and, many times, I can’t retrieve what I’ve read or possibly discover in what recess the poems and stories have hibernated, if indeed they still reside anywhere. One weekend, long ago at my grandparents’ house, I sped through the pages of The Lion, the Witch and the Wardrobe, fairly proud of my accomplishment. My brother, skeptic to my bragging, asked about a specific moment in the plot and I couldn’t respond. I swore that I’d actually read the novel, but where was my proof?


When you ask about Stevens, I turn to my library—a poor substitute for memory—and open Stevens’ collected poems. There’s a smallish, yellow sheet of lined paper that lists the page numbers of a dozen or so poems I once considered for a wedding ceremony: “Two at Norfolk,” “Idiom of the Hero,” “On the Road Home,” “A Rabbit as King of the Ghosts,” “Wild Ducks, People and Distances,” etc. In retrospect, ten years after making the list, I recognize there are some odd choices; no doubt I was hunting for a poem appropriate for the pairing of two human beings, offering imaginative possibility with a good deal of grounding by the frank reality of the challenges inherit in relationships, in marriage, and in living. I return often to Stevens’ assertion that “the imagination loses vitality as it ceases to adhere to what is real,” and I’m deeply invested in this exchange, especially the pull from reality that nears the point of breaking.

 

Stevens’ poetry is strange and stalwart, and there are too many flooring moments to note a favorite poem. Perhaps a better way of answering a “what’s-your-favorite” question is to say that, at any moment, any Stevens poem might become my favorite. I’m fairly confident I didn’t read much Stevens until graduate school (memory fails again; perhaps The Collected Poems was assigned), and his work carries enough resonance that I made two attempts (the second attempt, at last, successful) to visit his grave in Hartford… I remember lots of sunlight, Katherine Hepburn’s stone not terribly far away, and Samuel and Elizabeth Colt (think Robyn Schiff’s Revolver) a little farther on. There were, of course, thousands more headstones of those who aren’t remembered for anything.


CT: I’m also interested in this idea that seems to be cultivated throughout your book of a story that leads nowhere, and what that might mean for us as readers—to sit in silence, to sit in mystery. Stevens’ jar upon a hill is retranslated into “a billboard that reads /Redneck Steakhouse.” Or how, “[w]e moved like statues.” I love this kind of transformative power that results when we use stillness as a kind of measure. Are you fascinated with stillness? With form?


MR: I love that some poems create meaning and order from the experiences of life; most of my own experiences, however, don’t conclude in convenient epiphanies. Maybe it’s my wiring. Too many things happen simultaneously, in fragments and half-developed episodes, convoluted always by complex emotions and skepticism. I want to reflect this particular experience of the world, yet I’m guilty too of reaching for solidity, cohesion, and meaning. Ideally, those couplets that you mentioned ease the reader through the sometimes dense imagery and figurative language of Ladies & Gentlemen, providing the reader another opportunity for silence and contemplation. Your reflection on stillness immediately brings to mind Wordsworth’s “spontaneous overflow of powerful feelings.” Let us not forget that this overflow is also “recollected in tranquility.” When the creation of a new poem hits its stride, that stillness or tranquility feels like a hearth radiating in my chest. The few truly harmonious moments in my life—that is to say the instances when I’ve felt an ecstatic peace with my place in the cosmos (Kerouac’s “be in love with your life”) and was ready, right then and there, to leave this world behind—were moments of stillness and very much connected to an image. Immersing myself in an artist’s work is another kind of stillness, as is the simple pleasure of spending the day on the beach, far from the everyday nonsense and commotion.


Am I fascinated with form? The shape of the poem is hugely important to me, and you’ve probably noticed that the lines of each individual poem in Ladies & Gentlemen (except the two prose poems) are nearly the same length. I say nearly, because the lines of each couplet are purposefully not the same length. After September 11, 2001, during my second year in the MFA Program at UMass-Amherst, my language utterly failed in the wake of the events that day. Months of creative silence passed until, eventually, I found myself writing a sonnet that subtly alluded to all that had happened. Then I quickly began a second sonnet, as if at last the formal constraint gave an organizing structure to what I needed to voice. Of course I love Emily Dickinson’s “After great pain, a formal feeling comes—,”and it seems fitting that my own formal response arose while living down the street from the Dickinson house in Amherst. Anyway, eventually the single stanza of the sonnet gave way to couplets, and for me that’s another kind of formality, much in the way that rhyme or line lengths can serve as a stabilizing force in a poem.


You know, one of the many things I admire about your own book, The Fraud of Good Sleep (Salt, 2011), is the assortment of shape and style, and how variety can become a type of consistency in an individual collection. There are short and extended poems in your book, lineation and prose, punctuation and poems without, some poems that adhere to the left margin and others that take advantage of the page. Have you always written with this kind of multiplicity? How do you determine the form of an individual poem?


CT: Yes, I’ve always written this way. The voice of the poem tells me what to do. I don’t have a choice, really. I make sense of things by going through all possible permutations before I make up my mind. Even outside the experience of the poem, I don’t want to be “the bird,” I want to be a flock of birds. I think it keeps me sufficiently delusional. I think you need that delusion in order to be a writer. More simply, the multiplicity of forms in my work reflects the way I think and the way I feel; I’m never perfectly aligned, no matter how I try. I’m constantly at war with myself and, at the same time, with the world.


Poets like Emily Dickinson are curious to me; such singularity of voice! Lately I’ve been fascinated with “The drop that wrestles in the Sea—,” and in thinking about individuality and the Cosmos, and how we are all part of something much larger; a something that most always fails (in the best way) especially when it’s so full. In many of your poems, there’s an overflowing fullness, a ripe-rottenness of “[e]very fruit, rather, wasting in the trees.” Can you talk about this ripeness in your work? How does it work alongside or against ideas of restraint or order? What happens in “the chill shadow of the cherry tree?”


MR: Who wants to waste their time with art that isn’t ripe? Every fullness of the world, inevitably, becomes decay. As you know, my wife and I have a daughter who just turned nine months old, and while I don’t want to sound crass or indifferent, I’m fully aware that someday she too will vanish. That inevitability is never far from my thoughts, as frightening as that can be. In my imagination I see cars missing stop signs, El trains leaning from their tracks, engines aflame after leaving the runway. Are my constant thoughts and scenarios of mortality debilitating? I don’t believe so. Death is very much persistent and present, whether we’re willing to be aware of that presence or not. Most of us do a damn fine job pushing death away, especially in the United States, where we’ve managed to even place boundaries on the behavior of grief. In his poem “Montgomery Hollow,” Richard Hugo writes, “People die in cites. Unless it’s war / you never see the bodies.” When death does arrives at the doorstep of someone for whom we care deeply, we’re devastated. And then it’s expected that we adjust and get on with our lives. This is what happens in “the chill shadow of the cherry tree.” You and I are standing in that shadow always, and I’d rather acknowledge the fact and be less ruined when the things I love dearly disappear. I like how the French refer to the orgasm as la petite mort (the little death). The “ripeness” of living is as much related to desire and goes hand-in-hand with our gradual and sudden releases of what we call a soul.


CT: There’s a section in Ladies & Gentleman called “Circus” that opens up a conversation about U.S. politics, including war and its destruction. Can you talk about citizenship as it relates to this implied spectatorship of a circus production?


MR: “Circus” began as a group of individually-titled prose poems, but those titles (“Personations of Mother Goose,” for example) and their prose form were shed during some unexpected and exciting revisions. The section in Ladies & Gentlemen begins with an epigraph from Abraham Lincoln: “If destruction be our lot, we must ourselves be its author and finisher.” Lincoln and I share a birthday, and his emblematic character—the honest, model citizen—has been in some ways inextricable from my own life. I wanted his presence to inform the structure of “Circus,” so each page of the poem consists of couplets totaling a dozen lines, and these numbers reflect our birth (February 12th). Plus, the series’ sixteen poems are a nod to Lincoln’s position as sixteenth president, and then there are the appropriated fragments of the Gettysburg Address, delivered, incidentally, near Marianne Moore’s future resting place at Evergreen Cemetery.


I was born a citizen of the United States and, therefore, know intimately no other experience of citizenship. Despite the struggles and our country’s current economic hardships, U.S. citizens are undeniably privileged—I’m very aware these days of the luxury that is my kitchen tap!—and most of those living here would choose to be a citizen of no other country. But as a citizen of a world power, I can’t ignore the shortcomings of our particular democracy, nor can I avoid my own complicity in the actions of the United States on the world’s stage. In the short of it, the vast majority of us are spectators, including myself, and nearly as many are resigned to the news of casualties—allies as well as those of enemy X, Y, or Z—and the double-standard by which our country (be it drones or occupation) has acted unilaterally to infringe the sovereignty of other countries.


A rather unnerving example of this spectatorship came with the news of Osama bin Laden’s death. The morning news included, yes, footage of Obama’s press conference, but his statements were supplemented by the video of spectators in a baseball stadium pointing to American flags, applauding or pumping their fists, and chanting “U.S.A.” The overzealous jubilation of some felt similar to those rare but widely televised celebrations after the attacks of September 11th. Those celebrations are often mistaken as a representation of the entire Arab world, but Americans often fail to recognize how the world views their own actions, which include not only the invasion of other lands, but this country’s failure to take a larger role in slowing down the destruction of the environment.


CT: The dead deer—“more alive to you now”—that shows up at the beginning and toward the end of your book, any relation to William Stafford’s deer in “Traveling through the Dark”? There seems to be a resemblance, no?


MR: I grew up in Portland and began reading poetry while living there, so it wasn’t easy to evade “Traveling Through the Dark” and the influence that Stafford has had on the poetry of the Pacific Northwest. At various times I’ve repositioned my feelings about narrative poetry; honestly, I believe I’ve always maintained a narrative thread in my writing, however thin that thread may wear. Behind the dead deer in “Sleep Is Not Unlike a Waiting Room” is my first-hand encounter while hitchhiking Highway 1 from San Louis Obispo, through Big Sur, and up to Monterey. This was many years ago. When my luck ran low and the rides were few, I walked. Somewhere along the way, the highway’s shoulder became too narrow to continue safely, so I crossed the guardrail and continued on the other side where, suddenly, my downward gaze landed near the body of a gorgeous fawn, almost startled from her sleep albeit her round, still eye staring up at the sky. I was shaken, then taken by a forceful sadness. She’d been struck maybe the night before, and although I didn’t literally take a photograph of her body with the Pentax I had in my backpack, I “blinked a broken thing” as the poem describes, and that single image is connected to many images woven into the poem, including Stafford’s deer and those jumpers whose final moments were documented on September 11th.


CT: What are you working on right now? What are you thinking about in your work?


MR: I have an embarrassingly large backlog of poems and several book-length projects that deserve my ever-decreasing time. Lately, I’m no longer able to rationalize my insistence on the couplet form. There’s a documentary about the making of Darkness on the Edge of Town, Bruce Springsteen’s fourth and less commercial album, and in it Springsteen says that beginning artists create by instinct, but at some point that instinct becomes informed by intelligence. I’d like to believe I’m working in that second mode at this point in my artistic life, although I miss the imaginative capacity of my youth and the enthusiasms I had toward the world ten or twelve years ago.


For my writing, this intelligence now means an accuracy in lineation and in the use of added white space between lines and stanzas. This past March, in New York City, I met Andrea Baker, a fine poet whose first book, Like Wind Loves a Window (Slope Editions, 2005), is positively fantastic. She’d heard me read from Ladies & Gentlemen and was genuinely surprised to learn that those poems are anchored by the use of well-measured couplets. Her surprise, I soon realized myself, was warranted. Since writing the poems of Ladies & Gentlemen, I’ve attempted to move away from the couplet, specifically through a book-length series of poems titled Match. Currently, I’m working on poems that try to explore the wonder of fatherhood, poems that focus on lineation to accurately reflect the pacing and pausing of the language.


CT: You mean, the language of fatherhood? I can’t even imagine what the pacing of Fatherhood Language is like. Strange things happen when you move between prose and verse. Is this what you’re up to?


MR: Well, over the past few years, Adam Clay and I have exchanged daily poems, beginning in April and concluding whenever we’ve run out of steam. These newest pieces are from our exchange this past spring. They’re much more sparse and take advantage of the page in a way that’s new to my writing. Becoming a parent has introduced its unique pace in my life, yes, although the pacing of the poems remains anchored in a meditative gesture. In addition to poetry, I’ve kept a separate journal, in which I embrace cliché and sentimentality more readily. Writing about the utterly unique experiences of parenthood seems 100% worthwhile, and part of my aim in the poetry and prose is to preserve some of what I’ve felt these past eight months. Photography and video don’t do justice. I’m still in the process of revising this work, so I hesitate in saying too much in fear of articulating what the poems still need to discover.


What about you? What are you working on these days?


CT: I just finished revising a play called Medea. I couldn’t figure out how to fix the ending until it figured itself out. Patience! As I may have shared with you, I’m taking the entire summer off from my day job. I’m homeless but writing a lot. Titles include “The Sabbatical,” “The Sunbather,” “A Work of Art,” and “Lunchtime Special, Or Aphorisms.” I write each morning in long hand or on my manual typewriter. I spend a lot of time at the beach. Even though I use 50+ sunscreen, I’m pretty tan. I keep forgetting how old I really am. (Only the sun knows.) I’m reading writers’ notebooks. I just read a Sam Shepard play. I’m not in love with revision right now. I’m falling in love with contemporary Italian poetry. I’m drinking lots of coffee. I’m secretly meeting someone, which always helps my writing. This poem is called “Rinascimento.” I can’t stop thinking about the diary, the dialogue, and the aphorism form. At night, I plug in an old TV and watch movies. Last night, I watched Antonioni’s L’Avventura.


What other arts influence you? Painting? Music? What’s your writing habit look like these days? Has it changed? I know you teach a lot of young writers, what kind of stories do you tell them when they ask about setting up their own writing practices?


MR: I’m smitten by visual art and images in general. I consider myself an amateur photographer, although due to constraints of time and energy, it’s been several months since I’ve used my manual camera. I’ve a fondness for small doses of Edward Hopper (whose grave I visited in Nyack, New York), less so in larger exhibition settings. One of my favorite things is to enter a room at random inside the Art Institute of Chicago, survey the work quickly, then choose just one painting or photograph or artifact to really see at length before moving on to the next room and repeating the process. Cornell’s boxes, a large handful of which are at the Art Institute, are imbued with a reinvention of the ordinary and produce a childlike sense of possibility. If you have the chance, you should visit his red plastic lobsters (“A Pantry Ballet”) at the Nelson-Atkins Museum in Kansas City. Other artists whose work I admire include Joe Brainard and Giacometti, and I feel the need to mention the ultra-slow motion videos by Bill Viola, which have left me devastated twice. As an artist working with wholly different materials, I leave the spaces of Viola’s screenings and seriously consider why I bother using language. I have very little formal education when it comes to painting or sculpture, for example, but I appreciate how the visual arts can appeal to a wide audience.


One of many reasons I appreciate working in language, however, is the fact that the materials (a pencil, a scrap of paper) are inexpensive, widely available, and ready for use anywhere. This isn’t the case with most visual arts. My writing habits seem to evolve monthly, which may very well mean I don’t have a disciplined practice at all right now. This is especially true as summer winds to a close. I’m a full-time father with a full-time teaching schedule, and although I’m incredibly grateful for both of these things, so much of what was previously “leisure” is now spent preparing for classes and tending to the needs and curiosities of an infant. I can take some consolation in my backlog of poems, although nearly all of this work is in need of revision, reshaping, and (in too many cases) recycling. Revising isn’t as exciting as producing a brand new poem, and I have some tough decisions ahead in determining whether or not to abandon large swaths of my writing from the last few years.

 

As far as offering advice to young writers, of course I tell them to write each and every day, even if for only thirty or forty minutes. To carry a pen and a notebook (or a place on their smartphones) to jot down the world when it presents itself. I tell them that I don’t subscribe to writer’s block; instead, I give myself the time and space and wait. This involves patience, yes, and if the beginning of a poem doesn’t present itself right away, they can always read and read and read. Poets, especially young poets, sometimes overlook the fact that there’s a long tradition behind every poem written, and a steady reading practice can only help us write the next good poem, which is a poet’s primary job. Sometimes the difference between a successful and less successful poem feels indefinable, but back to Dickinson, the top of your head just might remove itself when the real thing comes along. Lew Welch, who disappeared in 1971 and has no grave, once described an ecstasy so great that, in the middle of writing his poem “Ring of Bone,” he got an erection. This was at Ferlinghetti’s cabin in Big Sur. When he finished the poem, Welch walked to an open window, unbuckled his pants, and climaxed right then and there. For the record, that hasn’t yet happened to me.


CT: I never knew how much you liked grave visiting. It’s much more common in Europe than it is here. I suppose it speaks to your willingness “to be less ruined” when the cycles of life cycle. In both of your books, I read of bridges, circles, planks, circumferences—potential frames, really, that position the speaker and reader into a “crossing over” of sorts. Where are you taking us, Michael?


MR: Cemeteries are wonderful. They ground me and serve as a poignant reminder of the dead-end this life becomes. It’s humbling to see the names of those who once walked the same streets and fields, and it’s even more humbling to see the worn stones that are already illegible after just a few hundred years. Embarrassing to admit, but I remember embracing the gravestone of a stranger, late at night, drunk in my early 20s and stumbling toward home. Fittingly, Charles Bukowski was my first literary grave (the Yellow Pages ad noted: “The only cemetery in Los Angeles with a view of the Pacific”), and my ever-growing list includes Ezra Pound and Joseph Brodsky in faraway Venice, Bertolt Brecht in Berlin (all those “b”s), as well as the graves of Anne Sexton and E. E. Cummings, who I recently visited in Forest Hills Cemetery outside of Boston, followed an hour later by the graves of Longfellow, Amy Lowell, and Robert Creeley in Cambridge. There are no more poems from these poets, no more author to breathe the original voice into the work. By visiting the graves of these poets, I want to acknowledge the achievement and importance of their work, all the while half-believing that my presence is recognized.


I have a difficult time living happily in the moment, which can be frustrating or, at the very least, frustrating for those around me. I’m far less glum than I was as an undergraduate, and my hope is that there’s fuller joy ahead. That’s actually a bit hard to imagine as my body begins to show signs of its own failure. Thankfully, poetry doesn’t rely on its author’s physical strength, and I’d like to believe that my poems venture into the past, the present (already the past!), the future, and the imaginative possibilities of all three. Time is terribly fleeting and, just as our personal and collective histories inform the present, I believe the present can also inform the past. Someone fancier than me once said that the best poetry is timeless, and that’s nearly the truth.

Click here <www.michaelrobins.org/graves> to view a selection of the graves that the author has visited.

Catherine Theis
is a poet and playwright living in Chicago. She is the recipient of an Individual Artists Fellowship from the Illinois Arts Council and is a graduate of the Iowa Writers’ Workshop. Catherine’s first book is The Fraud of Good Sleep (Salt Publishing < http://www.saltpublishing.com/> , 2011). Her latest chapbook, The June Cuckold, a tragedy in verse, is published by Covulsive Editions < http://www.convulsive-editions.org/>.


 ________________________________________________

 REVIEW 
Ladies & Gentlemen
By Michael Robins

Saturnalia Books, 2011

Reviewed by Virginia Konchan
An if/then statement is a basic building-block for deductive reasoning, as well as being one of the most basic control flow statements in many computer programming languages.  In Michael Robins’ second full-length collection, Ladies & Gentleman, however, this structure is subverted by the continued pressure the poet puts on the propositional part of the statement.  The result is a suspension of causality wherein not just the imaginary but the fantastic reigns free.  From “The Last Movie Made in Kansas”:  “If women knit the air past her window,/ if in a dream a neighbor sends her news.”  Again from “Your Voice is as Much a Kind of River”:  “If at night the rain slips past, I saw you.”  And lastly, from “Off the Shoulder of Orion”:  “If we turn a key the finch will rotate,/ sing ideas like a tumbrel end to end . . . ”

In a world where causality is, as it were, suspended, we enter a world—as introduced in Robins’ masterful first collection The Next Settlement—set in a theatrical milieu occasionally punctured by a deeper interiority than that of performance.  “For a time I left the interior scene, what/ nesting place surrendered for the curtain,/ greatest show from my seat.”  From this profoundly ocular interior beyond or within the stage comes a strange subset of poems which remember, and, through remembering, reassemble a socio-political landscape wherein ceremonial rites like marriage become humanized, if not naturalized, again.  Poems in this vein include “When It Snows in Boston it Snows Everywhere” which levels a beautiful patina of couplets at the reader (“Your hand in my hand,/ we love, we name our failure of orchids/ like we might souvenirs”) before again showing the zeal of public proclamation to be a hairsbreadth away from that of the personal.  In the case of “When It Snows in Boston it Snows Everywhere” we have the poetic issuance (so, hypothetical?  Hyperreal?) of a marriage proposal:  the delicately strung line between public and private speech acts here, attenuates before collapsing.

The couplet is this collection’s high wire, and the speaker’s fraught articulations, the at times “hopelessly hopeful” (from The Next Settlement), at times poignantly despairing (“like a train you stared into the sunrise./  Every fruit, rather, wasting in the trees”) high wire acrobatics.  From the third section of Ladies & Gentlemen, entitled “Circus”:  “A circus is not god,/ nor is the menagerie, nor will those dead// train for war anymore.  I forget such wars./  I beam, leave the young me sleeping, asleep.”  Parades, movie houses, music, and war:  this collection, and this poem in particular, hone in on the odd interfacing of peacetime and wartime, of spectacle and reality, and of concordance and discordance—often within one couplet or a single line.  The “great civil war” alluded to in “Circus” represents the historical stage in flux:  because there is no site, the borders between outside and inside, and between friend and enemy, sparkle and fade.  The speaker offers up to this end one of many different “kind[s] of war”:  “I hated you/ less than I loved myself for hating you.”  Rarely, though, is enmity the form of pathos that structures Ladies & Gentlemen:  that would be love—both in its chimerical and absolute incarnations.

 

From “All Our Pretty Songs”:  “She is fragments of bread/ that could lead me to love . . . ”;
From “His Passion is Doves”:  “Should he love, our idea of love must end . . . ”; and
From “When It Snows in Boston it Snows Everywhere”:  “a miracle that one could maybe love/ enough . . . ”

Navigating a national topography of place, writ large, this ranging speaker moves through the cities and states blasted or left alone by the wrecking ball of any number of wars, drifting from Massachusetts Bay to the Mississippi to Maryland and Kentucky, showing the reader also to be both victim and perpetrator of a kind of ideological devastation wherein both humans and wild animals find themselves without habitats in which to dwell (the displacement felt by humans being just as seismic, if not incommensurably so, than that of creatures).  From “Answering the Roll Call”:  “To begin the century, to say my name or hers/ from California again.  What’s done is done,/ so I want to leave a note for the joy of life./  In bed, under the covers, she says do I ever/ wish for death seriously./  I say nothing worse/ than country that was our home . . . ”

 

Elsewhere, the poet makes the equally devastating argument that the teleos of the natural world and the failure of language (to signify, or to deliver meaning) coincide.  “Early I learned the rules/ of language failing, not so much in church/ as in the timbre of a creek, upstream,/ by which I prefer to swim.  So what use/ are these rivers, of what use the oceans?”

Is there an outside to a police state?  To a nation state?  To family?  How can one approach one’s country and its goods and its citizens from a non-proprietary perspective, which is to say, openly?  And is to do so risking everything, when “those of my nation are not/ as they were,” and to believe in one’s fellow citizen is to risk finding “arrows, the feather in your back”?

If the birth or development of national consciousness is connected to that of political consciousness, a reader of Ladies & Gentlemen is that much the wiser upon reading this collection of quiet probity, its lyrics wrested (and occasionally, beautifully, torn) from the bodies that issue them.  As to what to do with this consciousness, look no further than “What I Was Doing About the War,” a perfect poem in which the speaker searches for an iconic image that would capture the historical moment (“smoke signal,” “weather & forecast,” “the satellites/ that pin the speck of beauty to a point,” “the mourning dove alone struck clean/ like glass” and “the stubborn mule tied to a sad piano”) as well as a sound that could reverse the entropic movement from cry to explanation, returning us to “our song, our only song . . . lofty as flame.”

Virginia Konchan’s poems have appeared in The New Yorker, Best New Poets 2011, the Believer, and The New Republic, among other places. A recipient of grants and fellowships from the Vermont Studio Center, Ox Bow, and Scuola Internazionale di Grafica, she lives in Chicago, where she is a Ph.D student in the Program for Writers at the University of Illinois at Chicago.