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Peter Rugg the Bostonian

I

The mare is pawing by the oak,
The chaise is cool and wide
For Peter Rugg the Bostonian
With his little son beside;
The women loiter at the wheels
In the pleasant summer-tide.

"And when wilt thou be home, Father?"
"And when, good husband, say:
The cloud hangs heavy on the house
What time thou art away."
He answers straight, he answers short,
"At noon of the seventh day."

"Fail not to come, if God so will,
And the weather be kind and clear."
"Farewell, farewell! But who am I
A blockhead rain to fear?

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poem by Louise Imogen Guiney
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Rescue The Slave

This song was composed while George Latimer, the fugitive slave, was
confined in Leverett Street Jail, Boston, expecting to be carried back
to Virginia by James B. Gray, his claimant.

Sadly the fugitive weeps in his cell,
Listen awhile to the story we tell;
Listen ye gentle ones, listen ye brave,
Lady fair! Lady fair! weep for the slave.

Praying for liberty, dearer than life,
Torn from his little one, torn from his wife,
Flying from slavery, hear him and save,
Christian men! Christian men! help the poor slave.

Think of his agony, feel for his pain,
Should his hard master e'er hold him again;
Spirit of liberty, rise from your grave,
Make him free, make him free, rescue the slave.

Freely the slave master goes where he will;

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poem by Anonymous Americas
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Boston

Sicut Patribus, sit Deus Nobis)

The rocky nook with hilltops three
Looked eastward from the farms,
And twice each day the flowing sea
Took Boston in its arms;
The men of yore were stout and poor,
And sailed for bread to every shore.

And where they went on trade intent
They did what freeman can,
Their dauntless ways did all men praise,
The merchant was a man.
The world was made for honest trade,-
To plant and eat be none afraid.

The waves that rocked them on the deep
To them their secret told;

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poem by Ralph Waldo Emerson
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Boston

Where the ferries come to shore
She never really knew how good it would feel
To finally find herself in a place so warm and real
She wears a Red Sox cap
To hide her baby dreads
The girl she was in New England
Is different now and dead
In all the local bars
She flirts and tells the boys while they're talkin'
She's from Boston
She comes from Boston
Talks to her family now and then
Through e-mails and postcards
She tries to explain to them
That education and occupation will have to wait for now
She loves the Rasta, reggae rhythms, her dreams have changed somehow
She wears a Red Sox cap
To hide her baby dreads
The girl she was in New England
Is different now and dead

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song performed by Kenny Chesney
Added by Lucian Velea
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For the Union Dead

Relinquunt Ommia Servare Rem Publicam.

The old South Boston Aquarium stands
in a Sahara of snow now. Its broken windows are boarded.
The bronze weathervane cod has lost half its scales.
The airy tanks are dry.

Once my nose crawled like a snail on the glass;
my hand tingled to burst the bubbles
drifting from the noses of the crowded, compliant fish.

My hand draws back. I often sign still
for the dark downward and vegetating kingdom
of the fish and reptile. One morning last March,
I pressed against the new barbed and galvanized

fence on the Boston Common. Behind their cage,
yellow dinosaur steamshovels were grunting
as they cropped up tons of mush and grass
to gouge their underworld garage.

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poem by Robert Lowell
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A Boston Ballad, 1854

TO get betimes in Boston town, I rose this morning early;
Here's a good place at the corner--I must stand and see the show.

Clear the way there, Jonathan!
Way for the President's marshal! Way for the government cannon!
Way for the Federal foot and dragoons--and the apparitions copiously
tumbling.

I love to look on the stars and stripes--I hope the fifes will play
Yankee Doodle.

How bright shine the cutlasses of the foremost troops!
Every man holds his revolver, marching stiff through Boston town.

A fog follows--antiques of the same come limping,
Some appear wooden-legged, and some appear bandaged and bloodless. 10

Why this is indeed a show! It has called the dead out of the earth!
The old grave-yards of the hills have hurried to see!
Phantoms! phantoms countless by flank and rear!

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poem by Walt Whitman
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The Landmarks

I.
THROUGH the streets of Marblehead
Fast the red-winged terror sped;

Blasting, withering, on it came,
With its hundred tongues of flame,

Where St. Michael's on its way
Stood like chained Andromeda,

Waiting on the rock, like her,
Swift doom or deliverer!

Church that, after sea-moss grew
Over walls no longer new,

Counted generations five,
Four entombed and one alive;

Heard the martial thousand tread

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poem by John Greenleaf Whittier
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A Ballad Of The Boston Tea-Party

Read at a meeting of the Massachusetts Historical Society.

No! never such a draught was poured
Since Hebe served with nectar
The bright Olympians and their Lord,
Her over-kind protector,--
Since Father Noah squeezed the grape
And took to such behaving
As would have shamed our grandsire ape
Before the days of shaving,--
No! ne'er was mingled such a draught
In palace, hall, or arbor,
As freemen brewed and tyrants quaffed
That night in Boston Harbor!
The Western war-cloud's crimson stained
The Thames, the Clyde, the Shannon;
Full many a six-foot grenadier
The flattened grass had measured,
And many a mother many a year
Her tearful memories treasured;

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poem by Oliver Wendell Holmes
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The Pirates Who Don't Do Anything

arr! Arr! ARr! ARR!
We are the pirates who dont do anything,
We just stay at home and lie around,
And if you ask us to do anything,
We'll just tell you we dont do anything!
Well, Ive never been to Greenland,
And I've never been to Denver,
And Ive never buried treasure in St. Louie or St. Paul,
And Ive never been to Moscow,
And Ive never been to Tampa,
And Ive never been to Boston in the fall!
'Cause We're the pirates who dont do anything,
We just stay at home and lie around,
And if you ask us to do anything,
We'll just tell you we dont do anything!
And Ive never hoist the mainstay,
And Ive never swabbed the poop deck,
And Ive never veer to starboard,
Cause I never sail at all.
And Ive never walked the gangplank,

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song performed by Relient K
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Now, Heart' - Some Of What I Remember When I Listen

A river is a process through time, and the river stages are its momentary parts.
—Willard Van Orman Quine

From early poems,1970s, youthful indiscretions/attempts to vocally/poetically arrive at/derive a worthwhile writer's voice. Some explication might serve or enhance these under serving, undeserving though 'striving-after' poems hidden in old journals understandably unpublished but now so with apologies which are these expiatory explanations. Recently rediscovering these early arrivals, derivative yet aspiring I recognized and reembraced an enduring self maturing, arriving into late middle age:

Obsessed newly by jazz, mad about the many miraculous lady singers, entranced all too easily as youth are wont to be by sorrows and sexual infatuations which feel, emphasis on 'feel', like love, here are two of many 'songs' as tributes and life markers to jazz singers who provided soundtrack and felt expression to my angst and easily inflated/deflated sense of self, of beloved others, and of that new territory, independent life away from parental home and childhood community discovering, blundering into the fray of separate hearts and minds, irresponsible genitals and insouciant jouissance ('juiciness', in French) , discovering then and again and again that like Walt Whitman I 'contain worlds' and many disparate selves poorly formed, most of them collective projections and expectations of who or what I wanted to be, what others wanted and expected me to be, resulting in much confusion, tumult and multitudes of momentary throw-away selves. Thus singers like Bessie Smith and Dinah Washington became anchors, warm contexts and containers, for my daily fragmentation and re-formation.

I lived on 3rd street in downtown Chattanooga, a refugee from zealous, politically conservative white evangelicals and the vestigial yet still viral Southern Confederacy. Just a block or two from where Bessie Smith was born, I used to watch from my upstairs porch the steep hilly street's comings and goings with a glimpse of the Tennessee River between tenements across the street, its persistent rich aroma heavy in the air. I imagined Bessie Smith as a little girl playing up and down the street like the kids I saw then - once, two of them gleefully chasing a frighteningly large and confused looking rat.

William—he insisted on 'Willie'—an old man down the street who knew Bessie as a little girl, used to come up to my porch after one day hearing Bessie from my phonograph singing blues onto the always busy but attentive street. One of the first and permanent things I learned from my porch is that a city street has keen, observant eyes, acute ears, omnivorously seeing/hearing everything, indifferently, perhaps, but nothing escapes it, a roving, all-knowing urban Eye of God.

Extremely green and eager as green always is though stutteringly, and without apology, I enjoyed Willie's many stories and back pocket bottles of Old Mr. Boston Apricot Brandy, both of which—story and spirits/spirited story —dissolved or appeared to, age, racial, cultural, and sociological differences, along with those catalysts/cata-lusts, the forever alchemical Bessie and other jazz singers, Billie! Dinah! Ella! Sassy! Lil Ester Phillips! Nina Simone! to name only a few of the sensuous solutio chanteuses resolving sexual confoundaries by Miss-ambiguating sins' plethera with loose lilt and will- o-the-lisp whisper tongues.

One night Willie, much 'in the pocket'—an expression for being well onto tipsy which I've never heard from anyone but him—wanted to dance to a Bessie tune playing, 'Back Water Blues', him recalling nights as a young man in rural Tennessee where he'd worked hard days in oppressive vegetable fields then hit the after hours juke joints for 'colored, twas segregation days, ' he explained, where he would go to drink, dance then dive/delve, as it were, into the sensual mysteries of moist skin, hot breath, mutually open mouths with their commodious moans and mumbles, venial hands, always vital parts, private hearts mutually pounding ancient known rhythms, odors and tastes of gin and those slender, forbidden, now greedily stolen bites in those all too short nights with their damned intrusive dawns.

'Dawnus interuptus, ' I quipped, us both slapping knees, passing the narrative bottle fore and aft hefting moments re-grasped between us, offerings to the equally narrative river, the all-knowing hungry street.

Jumping to his feet, Willie described 'powder dancin'' (pronounced marvelously, 'powdah') which I had never heard of. Talcum powder would be copiously scattered onto the dance floor where couples in stocking or bare feet would ecstatically dance, gliding and sliding sweetly scented, muskily bent toward later glides and slides in the slippery joy of momentary allure and amour on dimmed porches or surrounding woods often enough and gratis upon delicate slabs of moonlight gratuitously dewy providing cushion for Passion's out and in, honoring and dignifying deities of skin wanting more making more skin, headlong Nature's frictional algo-rhythms indelibly scored in every/each his/her yawing yen.

Willie shouted, 'YOU GOT ANY TALC POWDER? ! '

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poem by Warren Falcon
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