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Peter Fonda

Bob Dylan is out of the mentorship of Allen Ginsberg.

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Tale II

THE PARTING HOUR.

Minutely trace man's life; year after year,
Through all his days let all his deeds appear,
And then though some may in that life be strange,
Yet there appears no vast nor sudden change:
The links that bind those various deeds are seen,
And no mysterious void is left between.
But let these binding links be all destroyed,
All that through years he suffer'd or enjoy'd,
Let that vast gap be made, and then behold -
This was the youth, and he is thus when old;
Then we at once the work of time survey,
And in an instant see a life's decay;
Pain mix'd with pity in our bosoms rise,
And sorrow takes new sadness from surprise.
Beneath yon tree, observe an ancient pair -
A sleeping man; a woman in her chair,
Watching his looks with kind and pensive air;
Nor wife, nor sister she, nor is the name
Nor kindred of this friendly pair the same;
Yet so allied are they, that few can feel
Her constant, warm, unwearied, anxious zeal;
Their years and woes, although they long have

loved,
Keep their good name and conduct unreproved:
Thus life's small comforts they together share,
And while life lingers for the grave prepare.
No other subjects on their spirits press,
Nor gain such int'rest as the past distress:
Grievous events, that from the mem'ry drive
Life's common cares, and those alone survive,
Mix with each thought, in every action share,
Darken each dream, and blend with every prayer.
To David Booth, his fourth and last-born boy,
Allen his name, was more than common joy;
And as the child grew up, there seem'd in him
A more than common life in every limb;
A strong and handsome stripling he became,
And the gay spirit answer'd to the frame;
A lighter, happier lad was never seen,
For ever easy, cheerful, or serene;
His early love he fix'd upon a fair
And gentle maid--they were a handsome pair.
They at an infant-school together play'd,
Where the foundation of their love was laid:
The boyish champion would his choice attend
In every sport, in every fray defend.
As prospects open'd, and as life advanced,

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Rokeby: Canto III.

I.
The hunting tribes of air and earth
Respect the brethren of their birth;
Nature, who loves the claim of kind,
Less cruel chase to each assign'd.
The falcon, poised on soaring wing,
Watches the wild-duck by the spring;
The slow-hound wakes the fox's lair;
The greyhound presses on the hare;
The eagle pounces on the lamb;
The wolf devours the fleecy dam:
Even tiger fell, and sullen bear,
Their likeness and their lineage spare,
Man, only, mars kind Nature's plan,
And turns the fierce pursuit on man;
Plying war's desultory trade,
Incursion, flight, and ambuscade,
Since Nimrod, Cush's mighty son,
At first the bloody game begun.

II.
The Indian, prowling for his prey,
Who hears the settlers track his way,
And knows in distant forest far
Camp his red brethren of the war;
He, when each double and disguise
To baffle the pursuit he tries,
Low crouching now his head to hide,
Where swampy streams through rushes glide
Now covering with the wither'd leaves
The foot-prints that the dew receives;
He, skill'd in every sylvan guile,
Knows not, nor tries, such various wile,
As Risingham, when on the wind
Arose the loud pursuit behind.
In Redesdale his youth had heard
Each art her wily dalesmen dared,
When Rooken-edge, and Redswair high,
To bugle rung and bloodhound's cry,
Announcing Jedwood-axe and spear,
And Lid'sdale riders in the rear;
And well his venturous life had proved
The lessons that his childhood loved.

III.
Oft had he shown, in climes afar
Each attribute of roving war;
The sharpen'd ear, the piercing eye,
The quick resolve in danger nigh;
The speed, that in the flight or chase,

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How Does It Feel To Be Alone?

How does it feel to be alone
with no one round with whom you can
hang out, e-mail and telephone
now silent from your loverman?

How does it feel to get no kicks
from your beloved? Who is left,
for you to mix with, will you nix
your lovelife, loverman bereft?

Stone cold and lonely, lady, will
you roll, or will you gather moss?
On empty running, will you fill
your life again, make up your loss?

I knew that you were bound to fall
when first you fell for me. D’you feel
there’s someone else now you can call
and hope that you can make a deal?

With no direction home, is there,
d’you think, another man who’ll hold
you as I did, and if so, where
d’you think that like a stone he’s rolled?

Inspired by an article in the NYT by Adam Liptak on the use of lyrics by Bob Dylan in the Supreme Court (“The Chief Justice, Dylan and the Disappearing Double Negative, ” June 29,2008) :

The last chief justice liked light opera. The new one cites Bob Dylan. oour pages into his dissent on Monday in an achingly boring dispute between pay phone companies and long distance carriers, John G. Roberts Jr., the chief justice of the United States, put a song lyric where the citation to precedent usually goes. “The absence of any right to the substantive recovery means that respondents cannot benefit from the judgment they seek and thus lack Article III standing, ” Chief Justice Roberts wrote. “ ‘When you got nothing, you got nothing to lose.’ Bob Dylan, Like a Rolling Stone, on Highway 61 Revisited (Columbia Records 1965) .”
Alex B. Long, a law professor at the University of Tennessee and perhaps the nation’s leading authority on the citation of popular music in judicial opinions, said this was almost certainly the first use of a rock lyric to buttress a legal proposition in a Supreme Court decision. “It’s a landmark opinion, ” Professor Long said.
In the lower courts, according to a study Professor Long published in the Washington & Lee Law Review last year, Mr. Dylan is by far the most cited songwriter. He has been quoted in 26 opinions. Paul Simon is next, with 8 (12 if you count those attributed to Simon & Garfunkel) . Bruce Springsteen has 5.
But Mr. Dylan has only once before been cited as an authority on Article III standing, which concerns who can bring a lawsuit in federal court. His key contribution to legal discourse has been in another area.
The correct rule on the necessity of expert testimony has been summarized by Bob Dylan: ‘You don’t need a weatherman to know which way the wind blows, ’ ” a California appeals court wrote in 1981, citing “Subterranean Homesick Blues.” Eighteen other decisions have cited that lyric.
Chief Justice Roberts’s predecessor, William H. Rehnquist, cited his beloved Gilbert & Sullivan in a 1980 dissent from a decision that the press had a constitutional right of access to court proceedings. He was still an associate justice, and he thought the court had made up the right out of whole cloth. In rebuttal, Justice Rehnquist relied on the Lord Chancellor in “Iolanthe” to rebuke the majority. “The Law is the true embodiment of everything that’s excellent, ” the Lord Chancellor says. “It has no kind of fault or flaw, and I, my Lords, embody the Law.”
That made Justice Rehnquist’s point pretty well. The Roberts citation is more problematic. On the one hand, he showed excellent taste. “Like a Rolling Stone, ” as Greil Marcus has written, isthe greatest record ever made, perhaps, or the greatest record that ever would be made.” On the other hand, Chief Justice Roberts gets the citation wrong, proving that he is neither an originalist nor a strict constructionist. What Mr. Dylan actually sings, of course, is, “When you ain’t got nothing, you got nothing to lose.”
It’s true that many Web sites, including Mr. Dylan’s official one, reproduce the lyric as Chief Justice Roberts does. But a more careful Dylanist might have consulted his iPod. “It was almost certainly the clerks who provided the citation, ” Professor Long said. “I suppose their use of the Internet to check the lyrics violates one of the first rules they learned when they were all on law review: when quoting, always check the quote with the original source, not someone else’s characterization of what the source said.” The larger objection is that the citation is not true to the original point Mr. Dylan was making, which was about the freedom that having nothing conveys and not about who may sue a phone company. (See, e.g., “Me and Bobby McGee.”)


6/29/08

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Each Morning At The Breakfast Table

Who’ll stone you when you feel unable,
eating at the breakfast table,
to answer who’s the great composer,
implying that you are a loser?
Not my wife, though she’s most brainy;
on my creations never rainy,
she doesn’t let me feel alone,
rolling like a lonely stone.
Less than I a fan of Bob
on no occasions will she rob
me of my confidence. Sure, Dylan
to her appears to be a villain,
because of his association
with other forms of inspiration.
but she won’t stone me ever, that’s
why I won’t settle for ersatz.
She sees through masks, including mine,
but never stones the wearer, she
is morning coffee, evening wine,
and midnight she is ecstasy.
Not number twelve or thirty-five,
she’s number one, and helps me thrive
like Scarlett on the screen with Gable,
each morning at the breakfast table.

Inspired by Bob Dylan’s “Rainy Day Women, #12 and 35, ” which he sang wwith a lot of other songs at Prospect Park Bandshell two days ago. Nate Chinen writes in the NYT, August 14,008 (“In Prospect Park, the Consequences of Love and a Shot of War”) :
In the final moments of his sold-out Celebrate Brooklyn concert at the Prospect Park Bandshell on Tuesday night, Bob Dylan struck a pose. He was standing at center stage, feet planted wide. Dressed in black from his hat on down, he faced outward, proud, flanked by stone-faced band members. Then he formed his hands into pistols — six-shooters, let’s say — and fired shot after shot, roguishly slaying the crowd. It was a pretty good illustration of what had been happening for the past two hours.
Mr. Dylan can be an inconstant performer, and sometimes an indifferent one. But here he was dynamic, enthusiastic, out for blood. His set list featured more than half a dozen irrefutable classics, starting with “Rainy Day Women #12 & 35.” And he showed ironclad focus, commanding the same professionally gritty crew heard on his most recent album, “Modern Times” (Columbia) . As usual Mr. Dylan transformed his old songs, in some cases preserving only the lyrics. “Girl From the North Country” adopted some shadowy new harmonies, and “It’s Alright Ma (I’m Only Bleeding) ” turned up with a Celtic-Appalachian lilt. “Blowin’ in the Wind, ” the civil rights anthem that put Mr. Dylan on the map roughly 45 years ago, underwent the most radical revision, riding a crisp backbeat and rhythm-guitar part that suggested the heyday of Muscle Shoals rhythm and blues. Necessity surely birthed some of these inventions: Mr. Dylan,67, now sings with a (more) limited range, and a coarse, throaty tone. (When he rasped, “Lay across my big brass bed, ” in “Lay Lady Lay, ” he sounded like the Big Bad Wolf entreating Little Red Riding Hood.) And he rarely plays guitar, instead favoring an organlike keyboard, and occasionally the harmonica. Rhythm is his asset, his best means of asserting control; the bassist Tony Garnier and the drummer George Receli dug in but followed his lead.
Mr. Dylan has a new edition of his popular Bootleg Series due out in October: “Tell Tales Signs” (Columbia/Legacy) , consisting of relatively recent recordings, many previously unreleased. Only one track from that package, “Lonesome Day Blues, ” crept into the show. (It can also be found on the 2001 album “Love and Theft.”) Meanwhile the five songs culled from “Modern Times” held up admirably. “The Levee’s Gonna Break, ” set at a hard-rollicking tempo, was especially strong. But the two most potent songs, in a show that often touched upon the consequences of love, had to do explicitly with war. One was “John Brown, ” an early protest song that Mr. Dylan never released on a studio album: its narrative, forcefully told, involves a shattered soldier returning to his chastened mother. The other was “Masters of War, ” a much more celebrated song from the same era, which draws its focus wide but sharp. Here Mr. Dylan enunciated unusually clearly, over a drone-haunted vamp. “I hope that you die, ” he snarled, leaving two bars of open space before the next line, “And your death will come soon.” But his peak of intensity came paired to something other than a death wish. “I can see through your masks, ” he wailed, stretching out the last word of the phrase for emphasis. He seemed to know firsthand about masks, and seeing through them.

8/14/08

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Robert of Lincoln

Merrily swinging on brier and weed,
Near to the nest of his little dame,
Over the mountain-side or mead,
Robert of Lincoln is telling his name.
Bob-o'-link, bob-o'-link,
Spink, spank, spink,
Snug and safe is this nest of ours,
Hidden among the summer flowers.
Chee, chee, chee.

Robert of Lincoln is gayly dressed,
Wearing a bright, black wedding-coat;
White are his shoulders, and white his crest,
Hear him call in his merry note,
Bob-o'-link, bob-o'-link,
Spink, spank, spink,
Look what a nice, new coat is mine;
Sure there was never a bird so fine.
Chee, chee, chee.

Robert of Lincoln's Quaker wife,
Pretty and quiet, with plain brown wings,
Passing at home a patient life,
Broods in the grass while her husband sings,
Bob-o'-link, bob-o'-link,
Spink, spank, spink,
Brood, kind creature, you need not fear
Thieves and robbers while I am here.
Chee, chee, chee.

Modest and shy as a nun is she;
One weak chirp is her only note;
Braggart, and prince of braggarts is he,
Pouring boasts from his little throat,
Bob-o'-link, bob-o'-link,
Spink, spank, spink,
Never was I afraid of man,
Catch me, cowardly knaves, if you can.
Chee, chee, chee.

Six white eggs on a bed of hay,
Flecked with purple, a pretty sight:
There as the mother sits all day,
Robert is singing with all his might,
Bob-o'-link, bob-o'-link,
Spink, spank, spink,
Nice good wife that never goes out,
Keeping house while I frolic about.
Chee, chee, chee.

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Newpower Soul

2 the darkness - let there be light
2 the soundman - turn up my voice real tight
2 the n.p.g. - if u in this mother, scream
Show me how u all get down - 1 2 3, come on
Get freaky, let the head bob {x2}
We should all come 2gether 2 the newpower soul
Get freaky, let the head bob {x2} (come on, come on)
Itll make u feel much better - come on, baby, lets go!
Every while in a great once there comes 2 town a show
That lives up 2 all your funkspectation no matter how high or low
A reason 2 get your freak on in a way u never freaked before
Newpower soul lay claim 2 the booty - come on, lets go
(lemme see u get down)
Let the head bob
Get freaky, let the head bob (come on, come on)
We should all come 2gether 2 the newpower soul
(lemme see u get down)
Let the head bob
Get freaky, let the head bob {x2} (come on, come on)
Itll make u feel much better - come on, baby, lets go!
Every while in a day twice funky matters in our ear
As long as we keep our love strong, well never shed no tears
The brothas be threatenin 2 jump off buildings, newpowers what
They fear
Love 4 one another risin, newpower soul is here
(lemme see u get down)
Let the head bob
Get freaky, let the head bob (come on)
We should all come 2gether 2 the newpower soul (come
2gether)
(lemme see u get down)
Let the head bob
Get freaky, let the head bob (come on, come on)
Itll make u feel much better (feel better) - come on, baby, lets go!
Newpower soul
(we should all) {repeat sample}
Gemini rising on the 7th day
Makin mad sex, until ure in my arms, ok?
Cuz when u love somebody like that, its cool
U gots no need 4 the shoo-bed-ooh-bed-ooh
The good life, yeah, well be livin
Pushin up on every freak this side of heaven
Come on, come on, shake it, come on
U know I bes the one with the funky music, hon
And Im layin phat claims 2 the booty
Phat claims 2 the newpower booty
Keepin the crowd movin, yall, is my one and only duty, ooh wee!
With the newpower soul
Right on
We should all

[...] Read more

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Barbara Allen's Cruelty

In Scarlet towne, where I was borne,
There was a faire maid dwellin,
Made every youth crye, wel-awaye!
Her name was Barbara Allen.

All in the merrye month of May,
When greene buds they were swellin,
Yong Jemmye Grove on his death-bed lay,
For love of Barbara Allen.

He sent his man unto her then,
To the town, where shee was dwellin;
You must come to my master deare,
Giff your name be Barbara Allen.

For death is printed on his face,
And ore his hart is stealin:
Then haste away to comfort him,
O lovelye Barbara Allen.

Though death be printed on his face,
And ore his harte is stealin,
Yet little better shall he bee,
For bonny Barbara Allen.

So slowly, slowly, she came up,
And slowly she came nye him;
And all she sayd, when there she came,
Yong man, I think y'are dying.

He turnd his face unto her strait,
With deadlye sorrow sighing;
O lovely maid, come pity mee,
Ime on my death-bed lying.

If on your death-bed you doe lye,
What needs the tale you are tellin:
I cannot keep you from your death;
Farewell, sayd Barbara Allen.

He turnd his face unto the wall,
As deadlye pangs he fell in:
Adieu! adieu! adieu to you all,
Adieu to Barbara Allen.

As she was walking ore the fields,
She heard the bell a knellin;
And every stroke did seem to saye,
Unworthy Barbara Allen.

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Bob

SINGER of songs of the hills—
Dreamer, by waters unstirred,
Back in a valley of rills,
Home of the leaf and the bird!—
Read in this fall of the year
Just the compassionate phrase,
Faded with traces of tear,
Written in far-away days:
“Gone is the light of my lap
(Lord, at Thy bidding I bow),
Here is my little one’s cap,
He has no need of it now,
Give it to somebody’s boy—
Somebody’s darling”—she wrote.
Touching was Bob in his joy—
Bob without boots or a coat.

Only a cap; but it gave
Capless and comfortless one
Happiness, bright as the brave,
Beautiful light of the sun.
Soft may the sanctified sod
Rest on the father who led
Bob from the gutter, unshod—
Covered his cold little head!

Bob from the foot to the crown
Measured a yard, and no more—
Baby alone in the town,
Homeless, and hungry, and sore—
Child that was never a child,
Hiding away from the rain,
Draggled and dirty and wild,
Down in a pipe of the drain.

Poor little beggar was Bob
Couldn’t afford to be sick,
Getting a penny a job,
Sometimes a curse and a kick.
Father was killed by the drink;
Mother was driven to shame;
Bob couldn’t manage to think—
He had forgotten their name.

God was in heaven above,
Flowers illumined the ground,
Women of infinite love
Lived in the palaces round—
Saints with the character sweet
Found in the fathers of old,

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Barbara Allen's Cruelty

IN Scarlet town, where I was born,
   There was a fair maid dwellin',
Made every youth cry Well-a-way!
   Her name was Barbara Allen.

All in the merry month of May,
   When green buds they were swellin',
Young Jemmy Grove on his death-bed lay,
   For love of Barbara Allen.

He sent his man in to her then,
   To the town where she was dwellin',
'O haste and come to my master dear,
   If your name be Barbara Allen.'

So slowly, slowly rase she up,
   And slowly she came nigh him,
And when she drew the curtain by--
   'Young man, I think you're dyin'.'

'O it 's I am sick and very very sick,
   And it 's all for Barbara Allen.'
'O the better for me ye'se never be,
   Tho' your heart's blood were a-spillin'!

'O dinna ye mind, young man,' says she,
   'When the red wine ye were fillin',
That ye made the healths go round and round,
   And slighted Barbara Allen?'

He turn'd his face unto the wall,
   And death was with him dealin':
'Adieu, adieu, my dear friends all,
   And be kind to Barbara Allen!'

As she was walking o'er the fields,
   She heard the dead-bell knellin';
And every jow the dead-bell gave
   Cried 'Woe to Barbara Allen.'

'O mother, mother, make my bed,
   O make it saft and narrow:
My love has died for me to-day,
   I'll die for him to-morrow.

'Farewell,' she said, 'ye virgins all,
   And shun the fault I fell in:
Henceforth take warning by the fall
   Of cruel Barbara Allen.'

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Great Poets Missed Never Met

Great poets missed
never met
never engaged
artistic in conversation

we missed William Shakespeare
John Milton, Edmund Spenser
who wrote 'The Faerie Queene';
John Done long gone but not forgotten

we missed Francois Marie Arouet
better known as pen name Voltaire
Johann Wolfgang von Goethe
and macabre master Edgar Allan Poe

we missed the romantic poets
Shelley, Keats, Lord Byron
all dead within three years
of each others tragic deaths

we missed William Blake
“Tyger! Tyger! burning bright,
In the forest of the night,
What immortal hand or eye”

we missed the lake poets
Samuel Taylor Coleridge
William Wordsworth who
quarrelled irrevocably parted

we missed Robert Browning
wife Elizabeth Barrett Browning
Henry Wadsworth-Longfellow
Italian Dante Gabriel Rossetti

sister Christina Georgina Rossetti
Ralph Waldo Emerson, Walt Whitman
Lewis Carroll who took us in concepts
‘Through the Looking-Glass’ allusions

we also missed Wilfred Owen pacifist
T.S. Eliot walking ‘The Waste Land’
Siegfried Sassoon slaughter survived
Wystan Hugh Auden a man of a lit wit

William Carlos Williams upon ‘a red
wheel barrow’ so much depends spins
Sylvia Plath into ‘The Bell Jar’ while
Allen Ginsberg stalks Walt Whitman

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Today (Watch Me Shine)

Yesterday is just a dream I don't remember
Tomorrow, still a hope I've yet to endure
I'm out of time
I'm out of rhyme
I'm out of reason
Season's change and leave me out in the cold
The story's old
The tale been told by many a scholar
Got a fistful of dollar
And pocketful of love
God above if you hear me cryin'
I've tried to sell my soul
But no one's buyin'
Lord, strike me down now if I'm lyin' Bronx Style Bob: Lord strike me down (X3)
It's gettin' cold
It's time for dyin'
CHORUS
Come on and watch me shine
Like the world is mine (check it out) today
Come on and watch me shine (check it out)
Like the world is mine today
Watch me shine (check it out)
Then the man was free from sin
Bronx Style Bob: free from sin
Cast the first stone then began the violence
Bronx Style Bob: began the violence
Let the man whose words ring true
Speak on up till his voice breaks through the silence
Bronx Style Bob: through the silence
Let the ones who lose their way
Live to see just one more day in the sunshine
Bronx Style Bob: La-la-la-la-la-la-laaa
Let the one's who choose to stray
Recognize the price they'll pay
In their lifetime
Bronx Style Bob: in their lifetime (X2)
CHORUS
Sit in the way and wait for my roads to cross
You nail me down and you watch me bleed
Bronx Style Bob: watch me bleed
So lay my head against the earth
Plant my body like a seed
Bronx Style Bob: plant my body like a seed
You can't always get the things you want, love (check it out)
Bronx Style Bob: tell me what you want
You get what you deserve
Or maybe what you need
Bronx Style Bob: tell me what you need
So fill

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Edgar Lee Masters

The Spooniad

[The late Mr. Jonathan Swift Somers, laureate of Spoon River, planned The Spooniad as an epic in twenty-four books, but unfortunately did not live to complete even the first book. The fragment was found among his papers by William Marion Reedy and was for the first time published in Reedy's Mirror of December 18th, 1914.]


Of John Cabanis' wrath and of the strife
Of hostile parties, and his dire defeat
Who led the common people in the cause
Of freedom for Spoon River, and the fall
Of Rhodes' bank that brought unnumbered woes
And loss to many, with engendered hate
That flamed into the torch in Anarch hands
To burn the court-house, on whose blackened wreck
A fairer temple rose and Progress stood --
Sing, muse, that lit the Chian's face with smiles,
Who saw the ant-like Greeks and Trojans crawl
About Scamander, over walls, pursued
Or else pursuing, and the funeral pyres
And sacred hecatombs, and first because
Of Helen who with Paris fled to Troy
As soul-mate; and the wrath of Peleus' son,
Decreed to lose Chryseis, lovely spoil
Of war, and dearest concubine.
Say first,
Thou son of night, called Momus, from whose eyes
No secret hides, and Thalia, smiling one,
What bred 'twixt Thomas Rhodes and John Cabanis
The deadly strife? His daughter Flossie, she,
Returning from her wandering with a troop
Of strolling players, walked the village streets,
Her bracelets tinkling and with sparkling rings
And words of serpent wisdom and a smile
Of cunning in her eyes. Then Thomas Rhodes,
Who ruled the church and ruled the bank as well,
Made known his disapproval of the maid;
And all Spoon River whispered and the eyes
Of all the church frowned on her, till she knew
They feared her and condemned.
But them to flout
She gave a dance to viols and to flutes,
Brought from Peoria, and many youths,
But lately made regenerate through the prayers
Of zealous preachers and of earnest souls,
Danced merrily, and sought her in the dance,
Who wore a dress so low of neck that eyes
Down straying might survey the snowy swale
Till it was lost in whiteness.
With the dance
The village changed to merriment from gloom.
The milliner, Mrs. Williams, could not fill
Her orders for new hats, and every seamstress
Plied busy needles making gowns; old trunks

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Magpie, My Keeper, Is Flying - Upon Freeing the Gift of Creativity Turned Inward

.
for Elaine Bellezza, Beloved Anima-as-Fate


'There is only one real deprivation, I decided this morning, and that is not to be able to give one's gift to those one loves most...The gift turned inward, unable to be given, becomes a heavy burden, even sometimes a kind of poison. It is as though the flow of life were backed up.' - May Sarton, Journal of a Solitude


This afternoon while still somewhat hungover from last night's rich meal and several glasses of strong red wine, I stumbled as one does when hungover, only today without feet but with eyes, upon the above quote by May Sarton. I had awakened this morning with fragments of a dream, repetitive of other dreams the past few months, where I am carrying something precious and just cannot put it down in any old place or upon just any available surface. I cannot put it down until I find the right surface and location.

These dreams are full of torrential flood waters, or backed up, stagnant water, toilets full of filth and pungent bright orange dark urine days old and fermenting. I cannot unhand the burden even though the urge to pee or flee or drive a car away or into flood waters is strong. I must not put down the burden odd as it is; it is my laptop carrying case made of canvas. It is large enough to carry not only my laptop but also many books with which I cannot, will not be parted from as they are the must-have-with-me-always 'bread', my staple and stability in a given to me world out of balance.

I have understood the dreams only a little - something within the psyche is flooding up, over-spilling or has already, has not been adequately canalized, channeled, streamed and guided, shaped and formed. Or flushed. I knew that eventually, as dreams do when one sits consciously, patiently, persistently with them, they would yield their messages to me, and upon revelation these must be obeyed, brought out into the world, Carl Jung having said that one has a moral responsibility to dreams once they are kenned and must be conscientiously acted upon in the outer world. Just dreaming is not enough. Everyone dreams but not very many know to dream them out into the world, to let their messages unfurl, flood and flow to bring forth new consciousness, to reshape old forms no longer adequate to self, place and time into symbol and their sense, usually not literal.

And thus, only just now, upon opening up haphazardly in a book about Dostoevsky and his struggle with addictions which mirror the profound compulsion to create at any cost perhaps beyond one's capacities to renew oneself, I find May Sarton's quote and suddenly the dreams clarify and sharpen into focus; I understand them as the burden of creativity too long turned inward, the burden of writing, the burden of poetry which I have carried heavily for most of my life since middle school when I was 11 or 12 years old when books became my lifeline, my link to existence that I could live on in spite of not wanting to do so. Written words, books, kept me from disappearing though I was and remain a mostly invisible word.

And thus the floods. One cannot ignore them. Alphabets tumble and roil. One dare not ignore them. One must see them without a choice to not see them. In them I am suddenly made visible, bright orange p*ss pots and all. I am both appalled and pleased. My burden is upon my knees.

The backed up water, the urine, is creativity. A somewhat odd symbol of creativity, there is more than enough evidence that urination is symbolic of self expression which is creativity. In ancient Rome the highly valued dirt from the urinals of boys' schools was collected to be used as a cosmetic in order to restore youthful energy and looks. A young boy, or puer in Latin, is an archetypal symbol of ongoing creativity and inspiration, the puer aeternas, the eternal youth, well springs of ongoing creativity still imaged in solid fountains of the world where eternal waters flow from the peni of cherubic youth.

I have struggled my entire life with a strong urge to create, to write, to express in words that creative daemon within which torments no matter the completion of a poem or essay, a lecture, a psalm. And now my dreams have had me consciously, urgently seeking a place to put the burden down, to perhaps come to it anew. I imagine that landing the burden means bringing it down to earth, manifesting creativity all the more by bringing my efforts to others for the strongest part of the compulsive urge in my creativity has been to contribute one good thing, one good poem or piece of writing which in some way might further the culture even if only by a flea's leg length.

The dreams urge me to let the urine flow, to let the flood waters indeed flood over, to be less self conscious of what I write and say but to have at it all and to say my say. And to let whatever waves there are crest and break upon ever receptive banks and shores whose duty it is to allow what may come from motion without complaint, the more compliant toward as yet to be fully formed purposes as yet to be scored.

Synchronistically, a few days ago I listened to a lecture by poet Allen Ginsberg about Walt Whitman and his imitators, those who were goodly influenced by his effulgent, self indulgent style, his garrulous poems which presumed to express the very expansiveness of the North American continent over-flooded by a plague of itinerant, persistent poachers and prophets from Europe to Eastern disembarkation and then inland and Westward, compelled to overtake land and native peoples in their possessed, pushed wake. Ginsberg imagined himself to be a timely extension of this unruly school, as savage as the projected upon land and justly-resistant, resident humanity stretched beyond known bounds and sounds. Blood drowned and pounded the god-hounded land even now is flooded by unleashed mighty rivers seeking, if rivers seek at all, to undo and renew in horse shoe and other shapes the crimes of consciousness compelled to overtake while leaving it up to human souls to repent and repair, to prepare for more powerful insurgencies of land and Self ever seeking new and nower expressions of dirt and deity. There's enough history beneath layers to support the scarp and scrape of momentary yet monumental motions finally given mouths to utter what lies both beneath and within the heaping huzzahs of here here here full and deep. As in my dream, it is hard to steer in such surpassing tides and currents. Still, I am searching for holy campground that I may lay my burden down.

I have no wish to imitate Whitman nor Ginsberg - though both are easily imitated since they did so themselves, an occupational hazard for writers - but only to be obedient to the daemon, that urgent, emergent, creative force within. It rushes within and against me. No matter whether derived of the grandiose American continent and the even more grandiose sky or not, I have all too successfully braced against it in fear of failure, reprisal or, worse, complete indifference from others. My dreams now urge floods and resultant coagulations, they bring creative splurges to ground from hand to the hard world. And Nature, too, is indifferent but begs none the less and all the more to be given utterance and response.

Respondeo ergo sum. I respond, therefore I am. I respond, therefore the other, earth, all her ants, is as long as there are eyes, ears, and scanning minds to acknowledge and touch, wrestle, caress, shape - some in scansions - outer from inner, inner from outer, landscapes to be all too quickly discarded in time for what is sung just ahead. And seen. Or hoped, all praise to telescopes. We would be they, so addicted to horizons, to bring them close.

Something there is needs completion via coagulation, forming, shaping, and sharing with whomever may be open to clods delivered. If not, rivers will, as they will without reason, continue to overrun their banks and insist upon covering designated previous cultivations. Let then excess of creativity have its say, play out, and leave the critical post-considerations to others. I will surely sit and ponder spent what spills forth, to shape, to edit, to discard. And watch my little yard sink beneath needed and needy floods.

I will have done with deprivation and bring myself, what I have shaped and misshapen, to the world. These things, this burden, have I most loved and felt responsible for, have born the shame of. I have fought and have failed utterly again and again though my attempts have been, and still are, sincere though not blameless. Fear has been my encampment, a longing beneath knowing feet in secret cellars just beyond reach of contracted hands forever spelling hunger. I know open bastion doors and windows to now fling beyond embankments what has been wrung out of my floes and woes though hands wither from too much turning against and inward. What a relief to burst beyond boundaries too long successfully restraining.

I recently wrote a poem about much too too solid bastions of self, of forceful puer energy ramming through and over and into long buried storms and petrified forms, of passion mangling the delusion of 'norms' ignoring too sensitive alarms. Given May Sarton's May revelation this morning I now understand that the poem is about more than eros, it is about that powerful creative/destructive force, the daemon/tyro that ever urges outward intent on making and staking Self in new land and at least one aging man wrenched and rendered from dried and calcified encrustations. I am, to borrow from the insistent dream image, beginning to leak. And to break open.


Archeology - What The Stele Says 'Upon Taking A Much Younger Lover'


That this old ground yields to plow stuns.
What begins to be, earth swell, breaks
root-room open to blood means.

Old skeins tear upon what is new terrain,
hunger worn, long appended. There is
no blame for pain is the blessing.

All hurt now stings twilight quaked into being.
Your breath falls upon me now, taut, sinew,
bruising hand, purple inside flares warrior nerves

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Battered Bob

HE WAS working on a station in the Western when I knew him,
And he came from Conongamo, up the old surveyors’ track,
And the fellows all admitted that no man in Vic. could ‘do him,’
Since he’d smothered Stonewall Menzie, also Anderson, the black.
Bob was modelled for a fighter, but he’d run to beef a trifle;
For his science every rouseabout was satisfied to vouch,
And Red Fogarty advised us he delivered like a rifle,
And his stopping—well, beside him Harry Sallars was a slouch.

Not a man of us had met him till he settled on the station—
This was early in the Sixties, what we call the good old days—
And it’s cheerfully admitted Robert owed his reputation
To a crippled jaw, a broken nose, and eyes that looked both ways.
We were certain on the face of it our guess was not an error,
Every feature of his phiz was marked, his chin was pulled askew,
And The Critic passed the office: ‘Bet your buttons he’s a terror!
That’s the man who hammered Kelly on The Creek in Fifty-two!’

Bob was not a shrinking blossom, and he held the first impressions
By his subsequent admissions to the ringers and the mugs,
And he let himself be tickled into casual confessions
Of his battles with the bruisers and the scientific pugs.
How he’d mangled Matty Hardy was his earliest narration;
He’d completely flummoxed Kitchen, and had made the climate hot
For Maloney, Fee, and Curran. It was quite a consolation
When he graciously informed us that he hadn’t licked the lot.

The arrival of the Wonder gave a spurt to local science,
And we had an exhibition every evening in the week,
For the lightest joke was answered in the lingo of defiance,
And our blood was cast like water on the grasses by the creek.
Every fellow but the stranger had his scrap or rough-and-tumble;
No one thought of looking ugly at the slugger, Battered Bob;
And whene’er the boys addressed him ’twas in language choice and humble,—
Though they ached to see him beaten, none was anxious for the job.

How we honoured Bob, and yielded to his later information;
Let him lead in all the arguments, and gently run the ranche!
And a very small potato was the owner of the station
By the man who slaughtered Melody and fought a draw with Blanche.
Battered Bob became our champion, our boss, and by degrees he
Sent his fame down to the Wannon, and right up to Spooner’s Gap,
And he scooped the honours smiling, and he held them just as easy,
For we’d never seen him shape yet, and he hadn’t fought a tap.

We’d a cook whose name was Han Cat—he was short, and fat, and yellow,
Just a common, ugly Chinky, with a never ending smile.
Bob was careful to avoid the corns of any other fellow,
But he filled Han Cat with sorrow, and he whaled him all the while.
Han Cat groaned and bore it meekly, and we didn’t care to figure

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Make Promises to Keep

Make promises to keep!

Breaking a promise,
Is like kissing away one's integrity.
In fact,
Those who break promises,
Should not make claims
Of knowing what integrity means.

However,
There are certain instances
In which good intensions
Are misunderstood for keeping a promise.
One, if made, should be kept as should!

Minding my own business,
As is my custom when visiting friends.
I overheard Bob and Helen in discussion.
About their relationship.
One I regard as ideal.
One that had me close to thinking,
Of getting married again!

Bob saved me!
And he had no idea...
From what!
And friends forever we will remain.
And that visit I made,
Was a stroke of good luck.

'We've been together for ten years.
Said Helen.
Thinking what was said,
Was out of range from my listening ears.

'And the only thing we have not done between us,
Is get married legally.
And you keep saying that's what we are going to do.
But when?
Promise me you will marry me! '

God was sending me a message.
And I listened intently.

~As long as you know we are going to get married...
Why the rush? ~
Bob said in a quieting hush.

~As soon as the house gets paid.
And the kids grow up.

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Thirty Bob a Week

I couldn't touch a stop and turn a screw,
And set the blooming world a-work for me,
Like such as cut their teeth -- I hope, like you --
On the handle of a skeleton gold key;
I cut mine on a leek, which I eat it every week:
I'm a clerk at thirty bob as you can see.

But I don't allow it's luck and all a toss;
There's no such thing as being starred and crossed;
It's just the power of some to be a boss,
And the bally power of others to be bossed:
I face the music, sir; you bet I ain't a cur;
Strike me lucky if I don't believe I'm lost!

For like a mole I journey in the dark,
A-travelling along the underground
From my Pillar'd Halls and broad Suburbean Park,
To come the daily dull official round;
And home again at night with my pipe all alight,
A-scheming how to count ten bob a pound.

And it's often very cold and very wet,
And my missus stitches towels for a hunks;
And the Pillar'd Halls is half of it to let--
Three rooms about the size of travelling trunks.
And we cough, my wife and I, to dislocate a sigh,
When the noisy little kids are in their bunks.

But you never hear her do a growl or whine,
For she's made of flint and roses, very odd;
And I've got to cut my meaning rather fine,
Or I'd blubber, for I'm made of greens and sod:
So p'r'haps we are in Hell for all that I can tell,
And lost and damn'd and served up hot to God.

I ain't blaspheming, Mr. Silver-tongue;
I'm saying things a bit beyond your art:
Of all the rummy starts you ever sprung,
Thirty bob a week's the rummiest start!
With your science and your books and your the'ries about spooks,
Did you ever hear of looking in your heart?

I didn't mean your pocket, Mr., no:
I mean that having children and a wife,
With thirty bob on which to come and go,
Isn't dancing to the tabor and the fife:
When it doesn't make you drink, by Heaven! it makes you think,
And notice curious items about life.

I step into my heart and there I meet

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Outshining the Sun.

Bob West said
why are you always

looking towards
the girl's playground?

Looking for someone
you replied

who? Bob asked
A girl who gets

on my school bus
Bob pulled a face

and combed
his black oily hair

is she good looking?
Like an angel

you said
and peered

at the playground
across the way

where girls were
skipping or walking

in pairs
See her yet?

Bob asked
no not yet

you muttered
wishing you had

hoping she'd come
into view

don't see any point in girls
Bob said

putting his comb away
in a top pocket

wiping his hands
on his grey trousers

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The Ghost - Book IV

Coxcombs, who vainly make pretence
To something of exalted sense
'Bove other men, and, gravely wise,
Affect those pleasures to despise,
Which, merely to the eye confined,
Bring no improvement to the mind,
Rail at all pomp; they would not go
For millions to a puppet-show,
Nor can forgive the mighty crime
Of countenancing pantomime;
No, not at Covent Garden, where,
Without a head for play or player,
Or, could a head be found most fit,
Without one player to second it,
They must, obeying Folly's call,
Thrive by mere show, or not at all
With these grave fops, who, (bless their brains!)
Most cruel to themselves, take pains
For wretchedness, and would be thought
Much wiser than a wise man ought,
For his own happiness, to be;
Who what they hear, and what they see,
And what they smell, and taste, and feel,
Distrust, till Reason sets her seal,
And, by long trains of consequences
Insured, gives sanction to the senses;
Who would not (Heaven forbid it!) waste
One hour in what the world calls Taste,
Nor fondly deign to laugh or cry,
Unless they know some reason why;
With these grave fops, whose system seems
To give up certainty for dreams,
The eye of man is understood
As for no other purpose good
Than as a door, through which, of course,
Their passage crowding, objects force,
A downright usher, to admit
New-comers to the court of Wit:
(Good Gravity! forbear thy spleen;
When I say Wit, I Wisdom mean)
Where (such the practice of the court,
Which legal precedents support)
Not one idea is allow'd
To pass unquestion'd in the crowd,
But ere it can obtain the grace
Of holding in the brain a place,
Before the chief in congregation
Must stand a strict examination.
Not such as those, who physic twirl,
Full fraught with death, from every curl;

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Ginsberg Love Letter

Dear sweet mad bearded
naked bard guardian
angel of my soul:

Oh Allen,
I remember how you saw me through
those lost vagrant nights I suffered
choking on insomniac bull frogs
of insoluble cosmic revelation

So many nights I cried...
Desperately longing to confide...
I found you...
someone who could relate
to such an unruly manic mind
hurricane of tyrannous thought

A fellow self combustible Cassandra
conjuring locomotive banshee dynamo visions
of a shattered shadowless earth...

Someone who could feel the transmissions of
ancient radio tower pain...

You helped calm those
alien schizophrenic shivers...
soothed a screaming psyche...
Gave a voice to a mouth
once mute with fear

Thank you Allen,
for leaving love's trail of
subterranean sunflower seeds in your wake...

...I now see them sky bound sprouting
as I walk the golden-laurel path you helped lay

Oh how low I used to hang
my soggy hop washed head...
How drunk I was on myself …
How little I shared with others...
So many lizards and cockroaches
loitering inside...
I could never let another soul in
to help refurbish rotgut wasted walls....
How awash I was in ego insecurity...

Allen, your drunken escapade revelations sobered me up.

Summer's I shave my age darkened locks off just for you

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Edgar Allens Crow

All outside is white as snow,
except for Edgar Allen's crow.
Quietly and so serene,
till Edgar Allen's crow does scream.
Waking me from peaceful dreams,
to hatred in the night.
Now I know all Edgar Allen's,
madness in his write.
Stalkingly he walks the window,
pecking on the vane.
Now I know why Edgar Allen,
wrote of things insane.
Tis not a raven in my head,
that drives me to these words.
But this blackened beast which will not cease,
hes such a noisy bird.
I scream and shoo but he don't move,
seems fear he does not know.
Hes not a the raven that I think,
hes Edgar Allen's Crow.

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