C’EST LA VIE IN THE METAL BAR

I’d had enough of the Metal from the digital jukebox
Late at night, in the mostly empty bar
I walked over and put on Emerson, Lake & Palmer’s C’est la Vie
Lush, strings and flute trills, accordion, ringing picked acoustic guitar steel strings
Overwhelming choral background harmonies swell amid Greg Lake’s
Melodic clear voice and echoed cavernous in the bar and the waitress’ incredulity
Of kick-drum rolls thunder, growl and hollering stomp stark jarred shock
C’est la Vie’s lyrical echo labeled me through the subsequent months
Until COVID shut us down and there was no more bar or incredulous waitress
Funny, that the song bored me in the Detroit arena when I first heard it at 18
While Keith Emerson strolled in front of a set depicting lamplit French streets
Playing an accordion to a restless, chattering crowd, my last year of high school
And they got away with C’est la Vie and the Motor City packed Cobo Hall—
Home of Ted Nugent and Alice Cooper—in fact, had the crowd on their feet,
And a Billboard article called them Heavy Metal with Keith Emerson’s orchestral
Piano Concerto no. 1 on the vinyl album featuring C’est la Vie and Aaron Copeland.
I don’t know how they got away with it.  I couldn’t get away with it that evening
But there was Yes, then, and Ian Anderson invented rock flute and Death Metal
Hadn’t arrived yet like in the incredulous bar I played echoing C’est la Vie
Keith Emerson had enough of us that concert and played Nutrocker twice in a row
—A rocked-out version he didn’t write of Tchaikovsky’s March of the Toy Soldiers
“Did you like it?”  Keith taunted, “Would you like to hear it again?”
And played it again note for note and the crowd cheered a second time
I wondered if a girl in my high school named Marca liked Emerson, Lake & Palmer
I asked her and she said, “I like Nutrocker.”   Despite those packed concert arenas,
Keith Emerson never got the validation from Aaron Copeland that he wanted

Writing Poetry after Youth

Any poet, if he is to survive as a writer beyond his twenty-fifth year, must alter; he must seek new literary influences; he will have different emotions to express. This is disconcerting to that public which likes a poet to spin his whole work out of the feelings of his youth;–T. S. Eliot, Ezra Pound: His Metric and Poetry

T. S. Eliot wrote this insightful comment when he was 29.  He had written The Love Song of J. Alfred Prufrock, but had not yet written The Waste Land.  It is a remarkable comment, since Eliot, himself, hadn’t “altered.”  His own style was still developing and his arguably best work was yet to come.  From my own personal experience, I think that there is something in this observation of Eliot’s.

Some time in my early 30’s my passion for poetry had dried up.  Those strong feelings of youth were being replaced by different motivations.  As Eliot writes, after 25, the poet “will have different emotions to express.”  It is fair to say that in early adulthood/late youth, emotions ruled my life.  But as I aged, deliberation and understanding the large question of how the world works and the still larger question of how the map of living unfolds became increasingly important.  So the verbal filigree of young passion yielded to more contemplative works. 

However, just beginning to tackle different life issues, expression proved a fresh start on language.  So my output was inferior during this period.  I remember a friend who liked my earlier poetry once exclaim to me, “You’ve lost it!”  And I had.  I had mostly lost youth.

But as time progressed, I became accustomed to the challenges that life throws at adults and my writing began to mature, too. I was aware of the loss of my muse in my early 30’s.  I knew that I wasn’t writing very well.  I knew that my friend was right, for then.  In fact, I had almost quit writing altogether; I did precipitously stop writing for long spells.  But I couldn’t stop writing. A new style developed for the new person I was since youth. Of the poems I’ve published, ¾ are “post-30’s” poems;–that is, poetry I wrote after the age of 30.  That which was lost was found! 

Eliot’s style underwent quite an alteration as he aged, as well.  As a literature major once told me, “The jury’s still out on Four Quartets” (1936-1942—when Eliot was aged 48-52).  But the jury returned a verdict on The Cocktail Party (premiered 1949); utter failure.  The difference in Eliot’s later work, compared with that of his earlier work, though, is not only a matter of Eliot’s age.  He had also undergone a religious conversion and meant to express it in his work.  This is a major “alteration!” And even if Eliot’s artistry matched his new spirituality, the critical reception would have been skewed by the counter-religious zeitgeist of the modern age. 

Writing poetry is a dance between grasping language, grasping life, and grasping art.  All this is likely to undergo revision and rewrites with the stages of living one will experience here, and perhaps, hereafter.

VIVALDI’S FOUR SEASONS IN 1974

It’s not like I’ve seen it all before
When I was 20, Vivaldi’s Four Seasons was all the rage and it was 1974
That was when I first discovered it and bought a vinyl album
I was discovering it all and everything was new to me
I was carrying it out of my suitcase, which would have warped it
In the Detroit Greyhound Station and was talking with a girl, a music student
On her way to Oberlin College in Ohio and a young black man came up,
He sang some notes, and asked, “Is that how The Four Seasons goes?”
Everything was all new to me, like how different Toledo, Ohio is from
Livonia, Michigan, I thought, gazing absently around in the cavernous
Toledo Amtrak Station, the winter wind moaning though cracks in the doors
As I waited to ride the train’s sway and rhythmic clacks across America
East to Boston, also different from Livonia and the family I grew up in,
Discovering the big city.  I’ve heard The Four Seasons in three movies.
In my mid-40’s, I discovered the Heiliger Dankgesang an die Gottheit
In Beethoven’s A-Minor String Quartet, which I also heard in a movie.
Way back I’d asked Jimmy, a jazz sax player, about Beethoven’s string quartets
When I didn’t know much about things, and was hungry to discover it all
And was figuring things out.  Jimmy and I disagreed about Mozart;
He said Mozart was a real entertainer, but to me Mozart was all tights,
Powdered wigs, silk slippers, gilt palaces and effeminate, effete nobles
I’ve since discovered Mozart’s startling harmonies and I’m with Jimmy, now
And bought a Compact Disk Recording box set of Mozart’s “Hayden Quartets”
And heard the orchestra play the Hayden Quartets at the exec’s party in Die Hard
Or was it The Four Seasons, or both—I haven’t seen Die Hard again for a while
In Thor, the orchestra played The Four Seasons at that Embassy ball Loki crashed
I wonder why no one else has noticed that John Williams’ Superman music sounds
Exactly like Strauss’ Tod und Verklärung or Bernstein’s “There’s a Time for Us”
In West Side Story is the Adagio movement of Beethoven’s Piano Concerto no. 5
Which they both studied either in conservatories or in later professional life
My eyes welled up with tears which I blinked away in the public concert hall
That evening I heard the whole Messiah for the first time and I didn’t know why
Everybody stood up when the choir sang The Halleluiah Chorus to conclude
Part II of the whole Oratorio, not just the soundtrack to so many commercials
It’s not like I’ve seen it all before.  I poke around in Auden and Stevens, authors
I don’t know, and play The Rolling Stones on my keyboard and learn about rock,
Entertain myself with Thomas Wolfe and even Shakespeare, sometimes, and
Not really watch TV.  It isn’t that I keep learning, nor like I’ve seen it all before. 
More a matter of why it doesn’t feel like everything is new to me

A DIALOGUE OF UNITED STATES HISTORY

I told the French tourist I met in a bar that he had it all wrong
He said that the United States was founded by criminals kicked out of Europe
Later, I read about forced labor in Virginia imposed on British criminals
Deported British criminals condemned to indentured servitude in the United States
Who bought land and settled upon serving out their sentence

I told the French tourist that it was Pilgrims seeking freedom in the New World
He didn’t know that America was a Protestant colony
That began in the east and conquered the west
Despite all those Spanish Catholic city names already in the west when they got there
The settled land, missions, and mansions confiscated upon their arrival

Colonists defined the Indigenous Peoples in categories deported from European philosophy,
The Pilgrims’ descendants wrote peace contracts with fraudulent intent
Breach of contract, broken word, and the deported First Nations are defined as criminals
Forts, armies fighting to keep the broken peace treaties on the warpath
And yet each year we fondle the Thanksgiving story about Pilgrims and benevolent Indians

British Protestants founded the new colonies in the name of African blood
And enslaved African human beings laid the bricks of Jefferson’s Monticello
Who, in turn, wrote them out of his Declaration of Independence
While European criminals stole, sold, bought human lives and established these United States:
Conceived in slavery and dedicated to the proposition of disparity: of, by, and for criminals

WINTER INDOORS

Outside, the snow witnesses the cold
Early on the clock, darkness falls
This, the Solstice, the year’s darkest day
When we anticipate the coming of Light

The light of a small candle flame
Set before a Sarasvati statuette, Goddess
For students, musicians, poets; for me
In my indoors, today, I contemplate poetry

Made not of special poetic language only
Or a language obfuscated out of meaning
Rather, rhetoric coalesced around meaning
Truth in perfect words

Musings shining in my small Christmas tree’s lights
Every cloth gnome, owl, snowman, and mouse on it a gift
A cup of tea on the end-table next me
A pad of paper, my favorite pen, and ink on the page

Settling into a season I’m reluctant to accept
Seeing it coming in the early autumn sunset
On an outdoor patio of a favorite coffee shop
Thinking, then, about the candle, cup of tea, Christmas lights

Just as well, I don’t have any money
And COVID has closed most businesses
Locked us down, mandated us homebound
I take refreshment in the piercing candle flame

COFFEE HOUSE

Way back, I went to one Coffee House
Folk music, acoustic guitar, harpsichord
Hot chocolate, and coffee; dim lights
The only Coffee House I ever went to

            they don’t have them, now

Simon and Garfunkel; Peter, Paul, and Mary
And there was Dylan—Coffee Houses and folk music
Poetic, political, sensitive, intellectual, gently passionate
Or so I hear, but for the one I experienced

            passing away as I came of age

I knew rock concerts in stadia, electric, loud
I went to them when they were underground
(Jethro Tull barely filled the cement floor with folding chairs)
Now rock concerts, rock-stars are mainstream industry

            underground surfacing into pop-culture dominance

Music calling to my youthful intentions heavy and I followed
Bore down on scales, arpeggios, mambos, and fugues
Theory filled my interests; I practiced hours daily in late youth
Until two roads diverged; I divested my passion of full-time art work

            conscious submerging into secret recesses, private

In maturity I must modulate my practice time
Rest and build up piano-specific muscles otherwise unused
Not unlike the arthritis in the great E. Power Biggs’ Bach fingers
My wrists, shoulder, hurt, ribs stiffen

            to replay scales, chords, changes

Modulation of effort’s tonality
Depressing keys, depressing decrepitude
Making music’s exercise caution
Within all this beauty, this duet of body and keystroke

            we all call music in our cultural forms’ venues

I recently checked out a new club
I couldn’t follow any pattern to the loud bass tones
A woman wrapped herself in a flag while singing
A song I couldn’t pick out any real melody: only notes

            looks like things are going that way now

I went in and out of a club
Lights flashing, beats oscillating
I think they call it Techno
Bodies bumping into shots dancing

            Looks like things are going that way now

PRECIPITATE

In the chemistry lab
I have observed solids
Precipitate out of solutions
Flaking out of liquid

Watched many different precipitates
Float down, materializing solids
Emerge out of dissolved
State into solidity, precipitate

And snowflakes are precipitates
When supersaturated air chills
Water crystalizes into solid
Flakes lilting in air

Beautiful, floating, dancing swirls
Render in me peace
Watching out my window
The delicate descending snowflakes

Just a chemical precipitate
Like any other solid
Flaking out of solution
In the chem lab

Depending on the eye
What will be seen?
Snowflakes, called a precipitate,
Crystalline flakes dreamily falling

Drifting flakes’ floating beauty
Chemical equations possess beauty
Conceptually considered intellectual beauty
Reflecting the flakes’ beauty

Not that magical spell
Snowflakes cast on me
Watching out my window
Through my peaceful mind

ON THE ACUPUNCTURE TABLE

Challenge

It is a challenge for me,
As and because I so often challenge myself,
To lie and not move on an acupuncture table
With fine needles in meridians for 40 minutes

Challenging, to do nothing, motionless, for 40 minutes
And what do I have to do?  Shift?  Watch TV, motionless on the couch?
I heal and restore ch’i flow, prone for 40 minutes
My mind blanks and goes I don’t know where, stress relieves

The Hindu Balason Nithya healer scanned me with her third eye and said
I put pressure on myself (she almost said, “stress,” and corrected it)
Her insight astounded me; her call, so right
(Though her guru, Paramahamsa Nithyananda, fled India on rape charges)

I can’t seem to rest and go about the task at hand
Always there are new challenges, a new way to
Make myself anxious, upset, disappointed, with accomplishment’s attempts
And also elated, thrilled, satisfied, with accomplishment

But I’ve been all that before, even in my early 20’s
When I once wrote that I’ve had it all enough for proud contentment
Then, the Balasonic observation manifests again in me—probably
Why it’s hard to lie motionless on the acupuncture table for 40 minutes

Salve

It is, perhaps, something different
To configure my consciousness for happiness
And even as I ponder this, happiness cracks through dour
Cracks through pressure upon the self

Since that happiness nature gifted me
Abruptly caved with bipolar depression
And dancing through the day stumbled
Crashing pleasant drives to do, drive crashed

Craving accomplishment as its own only reward
(I had nothing else)—the ordinary happiness
Gifted us all by nature that made bartenders glad to see me
Such a dance, too, made it difficult to be still

Passive knowing supplanting activity begetting
Now that conscious configuration of consciousness requisite
To render happiness.  And why not crack through dour?
(Without getting into too much trouble)

As a madcap without Hal’s royal safeguard
Can engender, has engendered, by this cutup
When I fancied myself my own legislator
Endearing trouble to this now reflexology of mirth

Reflecting that mirth be a matter of adjustment
Of only consciousness, and it may be that Creative Energy
Is configured toward our several happiness, all
If we but configure toward Its end

THE PLACARD’S LIE

I recall a placard
That said a knight’s
First charge was to
Protect the Catholic Church

I knew this was
Is wrong.  Knights protected
Their liege.  Only Templars
Protected the Catholic Church

This placard was in
A museum of armor
In a city dominated
By the Catholic Church

On my birthday my
Girlfriend surprised me and
Took me to that
Museum because she knew

How much I loved
The Chivalric Romance genre
From a Harvard course
I was taking then

What still bothers me
Is why that placard
Misrepresented what is true
In that Catholic city

PAS DE DEUX: MY DANCE WITH THE MACHINE: A COMEDY IN THREE ACTS

Any More Than The Way Things Are

My Irish-Catholic friend published a book
About a world-famous Irish-Catholic poet
On a highly respected Irish-Catholic university press
And teaches college in a large, deeply Irish-Catholic city

I am a Swedenborgian
And even if I wrote a book about William Blake
There are no highly respected Swedenborgian university presses
Or big cities with prominent Swedenborgian populations

I have to think that all this matters
Isn’t it why my dissertation director counseled me not to write
About Swedenborg, for the sake of my career?

–“Academics don’t know, in fact, what they are suppressing”–

The dean of a Lutheran university confessed to me over breakfast
The General Secretary of a prominent interdenominational organization
Asked me over lunch why I am a Swedenborgian, meaning, I think,
“Why on earth are you a Swedenborgian?!”

Time was I believed that if I worked hard, became good at what I do
Success would be laid at my feet, not disappointment
It takes other things than being good at what I do
And I wonder that I am passed over for so many things I am good at

I am not asking for a leg-up toward success
Any more than is the way things are in this world
My Irish-Catholic friend is good at what he does
As am I, a Swedenborgian

Disappointment

Disappointment only descends upon failed ambitions
More than just getting your hopes up, as, for example, winning The Lottery
Expectations in general that fall through
Especially ambitions’ realization evaporating as one watches

Years pass, the doors close on what could have been
Out of time; out a life; a lifetime passed by
They say Reike can heal time—the past, present, what will be
Which is a different understanding of time that I know

Carol tells me that she has no ambitions, never did
My mother wonders where mine came from, since
Neither she nor Dad craved other than their work, homelife

–Nor credited me with success—

There’s something so real about Carol, which echoes back to a place I once was
I take it her upbringing on a farm
Where dirt and the harvest cycle are as real as it gets
Formed her out of the dust of the earth

The blanched suburbia of my impoverished culture
The shallow depths I almost drowned in
The neglect and torment my nascent family ignored and inflicted
Perhaps conspired to inspire my drive to reach for what my hand never grasped

I don’t know if Carol knows my disappointment
She has come to terms with riches she will never own
Guess it is not for me to posit where I would be
Why I continue to reach; I think Carol likes it

Some Glad Morning

I raged against the machine and did my own thing
Cultivating the garden that is my soul: wisdom, love
I didn’t care if they groomed me for success
Or if they said that I was just a fool

And so, my self found development in accord with aspiration’s beckon
Ever evolving aspirations leading my meandering pathway. I am pleased.
So why do I want that machine against which I raged
Now to bless me, sanctify my works with recognition and acclaim?

I wouldn’t say that I resisted playing ball with it all
I wasn’t in it for the game.  Karma drove my play
More than systemic machinations: I never felt like

–A cog in something turning, never cared to—

I followed and worked through my karma: the issues and stages
I got out of my system, that were me, became what is not me
Yet not another; self—the salve and the wound
The problem and the solution, the lock and the key

I suppose I made too much of eternity
Some told me I was too old to be thinking like that
And yet, I am old now and had better be thinking like that
So why this desperation about credit from the system I never much rated?

I suppose it isn’t so much about credit, I have credentials
Damn craving for more laurels I will never rest on and smile!
I do smile, smile at who I was and am: this beloved self
This no self, no permanency, only eternity of states flowing into who I am

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