Poetry

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Just reminded me about a Ginsberg poem called Sunflower Sutra . I was lucky enough to see a Ginsberg recital in Galway a few years ago and John Mahoney (Frasier's dad) read this one . He was wonderful . I think he stepped in to take part because I saw him in the Steppenwolf production of Long Day's Journey Into Night earlier in the festival but I was very impressed . He's a great actor .


I walked on the banks of the tincan banana dock and
sat down under the huge shade of a Southern
Pacific locomotive to look at the sunset over the
box house hills and cry.
Jack Kerouac sat beside me on a busted rusty iron
pole, companion, we thought the same thoughts
of the soul, bleak and blue and sad-eyed,
surrounded by the gnarled steel roots of trees of
machinery.
The oily water on the river mirrored the red sky, sun
sank on top of final Frisco peaks, no fish in that
stream, no hermit in those mounts, just ourselves
rheumy-eyed and hungover like old bums
on the riverbank, tired and wily.
Look at the Sunflower, he said, there was a dead gray
shadow against the sky, big as a man, sitting
dry on top of a pile of ancient sawdust--
--I rushed up enchanted--it was my first sunflower,
memories of Blake--my visions--Harlem
and Hells of the Eastern rivers, bridges clanking Joes
Greasy Sandwiches, dead baby carriages, black
treadless tires forgotten and unretreaded, the
poem of the riverbank, condoms & pots, steel
knives, nothing stainless, only the dank muck
and the razor-sharp artifacts passing into the
past--
and the gray Sunflower poised against the sunset,
crackly bleak and dusty with the smut and smog
and smoke of olden locomotives in its eye--
corolla of bleary spikes pushed down and broken like
a battered crown, seeds fallen out of its face,
soon-to-be-toothless mouth of sunny air, sunrays
obliterated on its hairy head like a dried
wire spiderweb,
leaves stuck out like arms out of the stem, gestures
from the sawdust root, broke pieces of plaster
fallen out of the black twigs, a dead fly in its ear,
Unholy battered old thing you were, my sunflower O
my soul, I loved you then!
The grime was no man's grime but death and human
locomotives,
all that dress of dust, that veil of darkened railroad
skin, that smog of cheek, that eyelid of black
mis'ry, that sooty hand or phallus or protuberance
of artificial worse-than-dirt--industrial--
modern--all that civilization spotting your
crazy golden crown--
and those blear thoughts of death and dusty loveless
eyes and ends and withered roots below, in the
home-pile of sand and sawdust, rubber dollar
bills, skin of machinery, the guts and innards
of the weeping coughing car, the empty lonely
tincans with their rusty tongues alack, what
more could I name, the smoked ashes of some
cock cigar, the cunts of wheelbarrows and the
milky breasts of cars, wornout asses out of chairs
& sphincters of dynamos--all these
entangled in your mummied roots--and you there
standing before me in the sunset, all your glory
in your form!
A perfect beauty of a sunflower! a perfect excellent
lovely sunflower existence! a sweet natural eye
to the new hip moon, woke up alive and excited
grasping in the sunset shadow sunrise golden
monthly breeze!
How many flies buzzed round you innocent of your
grime, while you cursed the heavens of the
railroad and your flower soul?
Poor dead flower? when did you forget you were a
flower? when did you look at your skin and
decide you were an impotent dirty old locomotive?
the ghost of a locomotive? the specter and
shade of a once powerful mad American locomotive?
You were never no locomotive, Sunflower, you were a
sunflower!
And you Locomotive, you are a locomotive, forget me
not!
So I grabbed up the skeleton thick sunflower and stuck
it at my side like a scepter,
and deliver my sermon to my soul, and Jack's soul
too, and anyone who'll listen,
--We're not our skin of grime, we're not our dread
bleak dusty imageless locomotive, we're all
beautiful golden sunflowers inside, we're blessed
by our own seed & golden hairy naked
accomplishment-bodies growing into mad black
formal sunflowers in the sunset, spied on by our
eyes under the shadow of the mad locomotive
riverbank sunset Frisco hilly tincan evening
sitdown vision.
 
Another of my favourites is Robert Frost's The Road Not Taken.

TWO roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference.
 
The Beat poets owe a great deal to Walt Whitman - a similar metre and lack of formal stanzas, revolutionary for his time and now probably overlooked in favour of Ezra Pound onwards. John Malcolm Brinnin is another fine American craftsman of the thoughtful, probably somewhat more outwardly-looking poem. Dear old Beats - mostly navel-gazing in retrospect, very subjective, while dressing up their egocentric works in supposedly social observation. Mind you, hard to find a poet who doesn't, one way or the other!

With one or two glowing exceptions:

There was an old man in a tree,
Whose whiskers were lovely to see;
But the birds of the air, pluck'd them perfectly bare,
To make themselves nests in that tree.

There was an Old Man on the Border,
Who lived in the utmost disorder;
He danced with the cat, and made tea in his hat,
Which vexed all the folks on the Border.

In each instance, we are invited to contemplate the helplessness of old age, as external forces - the beard-plucking birds - exert the relentless dimunition of the physical, while in the second example, internal (mental) decay renders the Old Man of the Border incapable of discerning the correct dancing partner, or the right receptacle in which to brew his tea. Both display the inexorable onslaught of the ageing process and, in the case of the Old Man, even social hostility. With few words, Lear has demonstrated deftly the cruel vicissitudes of the abandoned elderly, no truer in his time than it is today, with the current a

(Stop it. No-one wants a load of social comment, they just want nice-sounding poetry or a few names to drop. Up next: Patience Strong. Ed.)
 
More Ogden Nash:

Advice To Husbands

To keep your marriage brimming
With love in the loving cup,
Whenever you’re wrong, admit it;
Whenever you’re right, shut up.
 
The poet Ewan McTeagle...
(from Monty Python's Flying Circus, episode 16)
Picture a rugged highland landscape, traditional Scottish music playing in the background

Voice Over: From these glens and scars, the sound of the coot and the moorhen is seldom absent. Natures sits in stern mastery over these rocks and crags. The rush of the mountain stream, the bleat of the sheep, and the broad, clear Highland skies, reflected in tarn and loch form a breathtaking backdrop against which Ewan McTeagle writes such poems as 'Lend us a quid till the end of the week'. But it was with more simple, homespun verses that McTeagle's unique style first flowered.




If you could see your way to lending me sixpence.
I could at least buy a newspaper.
That's not much to ask anyone.

--------------------------------------------------------------------------------
Voice Over: One woman who remembers McTeagle as a young friend - Lassie O'Shea.
Lassie: Mr McTeagle wrote me two poems, between the months of January and April, 1969...
Voice Over: Could you read us one?
Lassie: Och, I dinna like to... they were kinda personal... but I will.


To Ma Own beloved Lassie.
A poem on her 17th Birthday.
Lend us a couple of bob till Thursday.
I'm absolutely skint.
But I'm expecting a postal order
and I can pay you back as soon as it comes.
Love Ewan
Voice Over: "Beautiful."



--------------------------------------------------------------------------------
St John Limbo - Poetry Expert: Since then, McTeagle has developed and widened his literary scope. Three years ago he concerned himself with quite small sums - quick bits of ready cash:" sixpences, shillings, but more recently he has turned his extraordinary literary perception to much larger sums - fifteen shillings, four pounds twelve and six... even nine guineas... But there is still nothing to match the huge swoop... the majestic power of what is surely his greatest work: 'Can I have fifty pounds to mend the shed?'...


Can I have fifty pounds to mend the shed?
I'm right on my uppers.
I can pay you back
When this postal order comes from Australia.
Honestly.
Hope the bladder trouble's geting better.
Love, Ewan

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Voice Over: There seems to be no end to McTeagle's poetic invention. 'My new cheque book hasn't arrived' was followed up by the brilliantly allegorical 'What's twenty quid to the bloody Midland Bank?' and more recently his prizewinning poem to the Arts Council: 'Can you lend me one thousand quid?'

David Mercer: I think what McTeagle's pottery... er... poetry is doing is rejecting all the traditional cliches of modern pottery. No longer do we have to be content with Keats's 'Seasons of mists and mellow fruitfulness', Wordsworth's "I wandered lonely as a cloud', and Milton's 'Can you lend us two bob till Tuesday'...



Oh gie me a shillin' for some fags
and I'll pay yer back on Thursday,
but if you wait till Saturday
I'm expecting a divvy from the Harpenden Building Society
 
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