Yeats

Neo Nazi Swag

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In 1983, before we had children, Judy Birdsong and I spent two months galivanting around Europe.  We prebooked only three hotels – one in London, one in Paris, and one in Athens.  In between these destinations, we idly roamed. We climbed white cliffs in Dover, spent a week in Arles as a base camp for excursions to Nice and Cannes, rode a sea-tossed vomit-splashed boat to Mykonos, etc.

On the trip back to Hamburg, where we departed for home, we hung out in Munich for a couple of days and made a day trip to Dachau where we toured the infamous concentration camp. It was an appropriately gray day with leaden clouds misting rain.  On the train, a recording disconcertingly announced, “Next stop, concentration camp.”

I remember that the outdoor spaces of the barbed-wire enclosure featured gravel that crunched beneath our shoes.  We walked through the sleeping quarters with their raw claustrophobic wooden bunks. I also remember an American soldier yanking his four year old son by the arm and swatting him on his butt for some misdeed.

I thought to myself, “Man, I can’t believe he did that here in all places – a concentration camp.”

Of course, back then I never dreamed that my native country forty years later would be constructing concentration camps to imprison minorities.

We too had many pretty toys when young:
A law indifferent to blame or praise,
To bribe or threat; habits that made old wrong
Melt down, as it were wax in the sun’s rays;
Public opinion ripening for so long
We thought it would outlive all future days.
O what fine thought we had because we thought
That the worst rogues and rascals had died out.

WB Yeats “Nineteen-Hundred-and-Nineteen”

Not only are we building concentration camps, but the President and his lackies are touting them, paying official visits, sadistically branding them. This one’s called Alligator Alcatraz.

The Republican Party of Florida is obscenely selling  Alligator Alcatraz merch.  

No doubt the Evangelicals are ecstatic, babbling in tongues praises to the Almighty.

Again, Yeats:

Come let us mock at the great
That had such burdens on the mind
And toiled so hard and late
To leave some monument behind,
Nor thought of the levelling wind.

Come let us mock at the wise;
With all those calendars whereon
They fixed old aching eyes,
They never saw how seasons run,
And now but gape at the sun.

Come let us mock at the good
That fancied goodness might be gay,
And sick of solitude
Might proclaim a holiday:
Wind shrieked—and where are they?

Mock mockers after that
That would not lift a hand maybe
To help good, wise or great
To bar that foul storm out, for we
Traffic in mockery.

Flailing

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photo credit Judy Birdsong

Flailing

Old kettles, old bottles, and a broken can . . . 

WB Yeats, “The Circus Animals’ Desertion”

In the not so good ol’ days of yore,

            the heyday 

in my blood 

            untamed,

I’d tap out trite love poems 

            on a typewriter. 

Frustrated, I might snatch the paper from the machine, 

            ball up the

the aborted Petrarchan 

            bellyaching,

and fling it across the room –

            as if I were a protagonist in a film,

not a melodramatic nobody 

            all hepped up on hormones

sitting at a desk 

                                    flailing.

photo credit Judy Birdsong

On Turning Seventy

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Marius van Dokkum

On Turning Seventy

The days of our years are threescore years and ten; and if by reason of strength they be fourscore years, yet is their strength labour and sorrow; for it is soon cut off, and we fly away.

            Psalm 90:10. King James Version

I have a milestone birthday coming up, the big SEVEN-O, the biblical three score and ten, the average life expectancy for a red-blooded American male when I was a kid, a birthday so far distant that a child couldn’t take it seriously.

O, yeah, yeah pissing in my pajamas, slop drooling out of
my mouth.
2 young schoolboys run by—
Hey, did you see that old guy
Christ, yes, he made me sick!

Charles Bukowski – “the last days of the suicide kid”

Charles Bukowski by Drew Friedman

Cue the cinematic cliches: sand moving through an hourglass, the winds of time ripping pages from a calendar, time-lapsed growth, and decay.

Trite but true: in the wink of an eye, you transition from making out in the back seat of station wagon to being wheeled into assistant living.

But the thing is – as I keep the cliches coming – it’s hard to smell the roses when you’re changing diapers, sitting through interminable meetings, or visiting a loved one in a cancer ward.

Chances are you’re not old enough to remember Mike Douglas’s cloyingly sentimental hit “The Man in My Little Girl’s Life.”

Well, before I knew it, time had gone
My, how my little girl had grown: Then it was:
“Uh! Father! There’s a boy outside – his name is Eddie
He wants to know if we can go steady?
Can we Father? Yes Father?
Oh! can we borrow the car Pop?”

Yes, it seems like only yesterday
I heard my lovely daughter say:
“Dad! There’s a boy outside – his name is Jim
He asked me if I’d marry him?
I said yes, Dad! – Got something in your eye – Dad?
I love him, Dad.”

A child, an adolescent, a young lady, a wife
Oh! and oh yes, Heh! Heh!
There’s another man in my little girl’s life
“Hi Dad! There’s a boy outside – his name is Tim
I told him Grandpa was gonna baby sit with him
Thanks Dad. Bless you Dad. Goodnight, Dad.”

Good night, ladies, good night, sweet ladies, good night, good night.

Wise old men and women no doubt take Cicero’s De Senectute to heart, or rather, to head. Cicero wrote it in this sixty-third year and argues that the longer perspective that old age provides is rich compensation for the lost pleasures of youth, that “each stage of existence has been allotted its own appropriate quality; so that the weakness of childhood, the impetuosity of youth, the seriousness of middle life, the maturity of old age — each bears some of Nature’s fruit, which must be garnered in its own season.”

Whistling past the graveyard, he offers this:

[T]he fact that old age feels little longing for sensual pleasures not only is no cause for reproach, but rather is ground for the highest praise. Old age lacks the heavy banquet, the loaded table, and the oft-filled cup; therefore, it also lacks drunkenness, indigestion, and loss of sleep. But if some concession must be made to pleasure, since her allurements are difficult to resist, … then I admit that old age, though it lacks immoderate banquets, may find delight in temperate repasts.

If only!

Yeats, who, on the other hand, cast a jaundiced eye on old age, who bemoaned it as “an absurdity” that had been “tied to [him] as to a dog’s tail,” nevertheless acknowledged that through art one could vicariously hold on to youth by studying “monuments of unageing intellect.”

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence,

WB Yeats, “Sailing to Byzantium”

Hey, it’s the week after Thanksgiving, and I am grateful for so many things, my old age being one of them. The romantic notion of living fast, dying young, and leaving a beautiful corpse is patently absurd. Adrenaline rushes are fun, but near fatal auto crashes aren’t (and I’ve lived through one). Plus, there’s no such thing as a beautiful corpse. Sure, nowadays, I’m not much to look at, my auburn locks have given way to a freckled scalp, my once lithe frame gone paunchy, and my ability to remember names a semi-serious social liability; however, at the moment, I enjoy good health, a harmonious homelife, successful sons, a thriving grandson, and a remarkably wise and kind thirteen-year-old stepdaughter. I enjoy reading, writing, listening to music, hanging with Caroline, and holding court at Chico Feo.

No doubt my good health will not last, but I would like to think I won’t end up like Philip Larkin’s old fools, “crouching below/ Extinction’s alp,” suffering through “a hideous, inverted childhood.”

As Caroline says, “we can hope; we can dream.”

And, hey, if you’re on Folly 10 December 2022, come have a drink with me after the Xmas parade at Chico Feo while I’m still among the quick, because, to quote Ulysses from Shakespeare’s Troilus and Cressida:

Time hath, my lord,
A wallet at his back, wherein he puts
Alms for oblivion.

The old me circa 1978

the new me 2021

Everybody’s in Showbiz

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The democratization of media means that we’re all stars now. Self-styled comedians flood TikTok with their bits, musicians upload videos, retired English teachers with lowly BAs spew cultural observations in blog posts as if they’re social scientists.[1]

You don’t need any talent or expertise to do any of this, only the right software and an internet connection.

Seems as if everyone, whether it be Marjorie Taylor Greene or Mr. Disgruntled Cattleman from Wyoming, has the infomercial eye-contact, emphatic-hand gesturing down as they look you in the eye from whatever sized screen they appear on.

I noticed years ago that Trump himself had incorporated some stand-up body language in his rallies, particularly the [cue New Yorker sarcastic voice] who-would-have-thunk-it shrug.

More than ever, politics has morphed into showbiz. Do the above-referenced MTG and her not-all-that-comical sidekick Laura Boebert ever attend committee meetings, or is all they do is hold mikes and pace back and forth pretending that they’re rightwing incarnations of Paula Poundstone? [2]

Seems like a waste of taxpayers’ money from where I’m scrolling.

Oh, yeah, then there’s this, not to be outdone.

[1] That would be I-and-I, Dear Reader.

[2] Marjorie Taylor Greene has been stripped of her committee assignments, so in her case, the answer is no.

This Here Southern Gothic Poem Writ Itself Sort Of (Thanks to an Alphabetical Sequence the Poet Produced by Forming Words in the New York Times Word Game Spelling Bee with the letters T X U N D E T, plus the letter A, Which Has to Be in Every Word).[1]

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Self Portrait with Lace by Gertrud Arndt

  • Aunt
  • Axed
  • Data
  • Date
  • Dated
  • Daunt
  • Daunted
  • Dead[2]

[1] Prosaic titles used to be a thing, and Yeats was a master. e.g.: 

To A Poet, Who Would Have Me Praise Certain Bad Poets, Imitators of His and Mine

You say, as I have often given tongue
In praise of what another’s said or sung,
‘Twere politic to do the like by these;
But was there ever dog that praised his fleas?

2] To me, it sounds like the boot noise of doomed soldiers marching.

The Sounds of Words

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Yeats and Maude Gonne by Anne Marie O’Driscoll

Half close your eyelids, loosen your hair,

And dream about the great and their pride;

They have spoken against you everywhere,

But weigh this song with the great and their pride;

I made it out of a mouthful of air,

Their children’s children shall say they have lied.

                 WB Yeats “He Thinks of Those Who Have Spoken Evil of His Beloved”

A by-product of breathing, that mouthful of air, exhalation tracking up through the trachea, plucking the vocal c[h]ords: vowels, consonants, words, words, words.  Say outloud the title of this post  – the sounds of words.  Dissonant, sharp, as unlovely as the scraping of a rake on gravel, echoing  Juliet’s lament as Romeo vacates their marriage bed:

It is the lark that sings so out of tune, 
Straining harsh discords and unpleasing sharps.

Romeo and Juliet by Todd Peterson

Perhaps even more discordant is Gerard Manly Hopkins postlapsarian description of industrialization:

And all is seared with trade; bleared, smeared with toil;

   And wears man’s smudge and shares man’s smell: the soil

   Is bare now, nor can foot feel, being shod.

Industrial wasteland matte by Ryan Morgan

Who sez that poetry’s supposed to sound pretty?  

Not Alexander Pope:

But when loud surges lash the sounding shore,

The hoarse, rough verse should like the torrent roar

Nor that barbaric yawper Walt Whitman:

Nor him in the poor house tubercled by rum and the bad disorder.

Nor Ol’ Ez in St. Elizabeth’s ranting:

the drift of lice, teething,

and above it the mouthing of orators,

    the arse-belching of preachers.

Inferno, Canto 8 by Giovanni Stradano

Thanks to its Anglo-Saxon roots, English is well-suited to screech.  However, thanks to its French invaders, our language can also coo.  And don’t forget the ess-cee (sc) words of the Vikings with their skalds singing of skulls and skies and scales.  

English-speaking poets possess quite a synthesizer through which to sample sounds, orchestrating Anglo-Saxon, Norse, and French symphonically (Milton) or piping a simple Saxon tune in tetrameter (Anonymous).

Given global warmification/climatic alternation, the following worry may seem as trivial as the date of Alfred Tennyson’s death, but I wonder, given our beeping visual small screen secondhand exposure to actual sights and sounds, if off-the-cuff eloquence might become as rare as first edition Kafkas.  

In my youth, among my compatriots, having a way with words held sway.  I think of Jake the Snake Williams politely stringing together sentences to a Jehovah’s Witness in Richland Mall, and the fellow smiling, nodding his head, and saying, “Brother, you got you an excellent rap.”  Or Furman Langley lamenting in a Lowcountry gumbo of gullah-echo the pain he be suffering from the “Hurry Curry Casserole Blues.” 

The “like-like” syncopatations of youthful inarticulation and the ubiquitous interrogative lilt of a nation of valley girls’ declarative sentences gives me pause?

I guess it all boils down to a matter of culture.

Bewildered, bewildering primate.  Absinthe.  Circumcision.  Couplets.

Grudges., beliefs.  The war of my childhood, Europe tearing at itself.

Scarification.  Conceptual art.  Classic celebrated scholarly papers

On the Trobriand Islanders, more fiction or poetry than science.

Absorbed or transmitted always invisibly in the air

From a digital Cloud.  Visible and invisible in the funny papers . . . 

from “Culture” by Robert Pinsky

Screech Me a Poem, Sugar Britches

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yeats and maude

Yeats and Maude Gonne by Anne Marie O’Driscoll

Half close your eyelids, loosen your hair,

And dream about the great and their pride;

They have spoken against you everywhere,

But weigh this song with the great and their pride;

I made it out of a mouthful of air,

Their children’s children shall say they have lied.

                 WB Yeats “He Thinks of Those Who Have Spoken Evil of His Beloved”

A by-product of breathing, that mouthful of air, exhalation tracking up through the trachea,  plucking the vocal c[h]ords: vowels, consonants, syllables, words, words, words.  Say outloud the title of this post  – “screech me a poem, sugar britches.”  Dissonant, sharp, as unlovely as the scraping of a rake on gravel, echoing  Juliet’s lament as Romeo vacates their marriage bed:

It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.

romeo-and-juliet-todd-peterson

Romeo and Juliet by Todd Peterson

Perhaps even more discordant is Gerard Manly Hopkins postlapsarian description of industrialization:

And all is seared with trade; bleared, smeared with toil;

And wears man’s smudge and shares man’s smell: the soil

Is bare now, nor can foot feel, being shod.

train-tracks-by-valerio-dospina

Train Tracks by Valerio D’Ospina

Who sez that poetry’s supposed to sound pretty?

Not Alexander Pope:

But when loud surges lash the sounding shore,

The hoarse, rough verse should like the torrent roar.

Nor that barbaric yawper Walt Whitman:

Nor him in the poor house tubercled by rum and the bad disorder.

Nor Ol’ Ez in St. Elizabeth’s Mental Hospital ranting his way to a Bolligen Prize:

the drift of lice, teething,

and above it the mouthing of orators,

    the arse-belching of preachers.

pound

Ezra Pound

Thanks to its Anglo-Saxon roots, English is well-suited to screech.  However, thanks to its French invaders, our language can also coo.  And don’t forget the ess-cee (sc) words of the Vikings with their skalds singing of skulls and skies and dragons’ scales.

English-speaking poets possess quite a synthesizer through which to sample sounds, orchestrating Anglo-Saxon, Norse, and French symphonically (Milton) or piping a simple Saxon tune in tetrameter (Anonymous).

Given global warmification/climatic alternation, the following worry may seem as trivial as the date of Alfred Tennyson’s death, but I wonder, given our beeping visual small screen secondhand exposure to actual sights and sounds, if off-the-cuff eloquence might become as rare as first edition Kafkas.

In my youth, among my compatriots, having a way with words held sway.  I think of Jake the Snake Williams politely stringing together sonorous sentences to a Jehovah’s Witness in Richland Mall explaining why he wouldn’t take the tract, and the fellow smiling, nodding his head, and saying, “Brother, you got you an excellent rap.”  Or Furman Langley lamenting in a Lowcountry gumbo of gullah-echo the legend of the Boo Hag.

0d79b4efb49e4854947f5e00ba3413ee

The “like-like” syncopatations of youthful inarticulation and the ubiquitous interrogative lilt of their declarative sentences gives me pause?

I guess it all boils down to a matter of culture.

Bewildered, bewildering primate.  Absinthe.  Circumcision.  Couplets.

Grudges., beliefs.  The war of my childhood, Europe tearing at itself.

 

Scarification.  Conceptual art.  Classic celebrated scholarly papers

On the Trobriand Islanders, more fiction or poetry than science.

 

Absorbed or transmitted always invisibly in the air

From a digital Cloud.  Visible and invisible in the funny papers . . .

                                                       from “Culture by Robert Pinsky

Clunky Titles, Funky Poems

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Relatively early in his career, Yeats would come up with long, unwieldy titles for some of his poems.

Here’s one:

To a Poet, who would have me Praise certain Bad Poets, Imitators of His and Mine

You say as I have often given tongue

In praise of what another’s said or sung.

‘There politic to do the like by these;

But have you known a dog to praise his fleas?

 

So in this vein, I humbly present:

A Subliterate Buddhist with Work Issues Writes to His Love Seeking Seventeen Syllables That Will Deliver Him from the Eternal Cycle of Birth, Suffering, and Death

 

Oxygen, shallow breathing, white noise, now!

O, lay a haiku on me, sweetie.

This here samsara got me so so down.

 

These damned desires breed so much sorrow.

Can’t concentrate on my breathing.

Got so much shit going down tomorrow.

 

O, O, O, lay a haiku on me, my love,

A haiku with the hashtag samadhi,

One that makes me the one I’m not thinking of,

One that will set this monkey mind free.

 

 

Um, om?

 

In All His Tuneful Turning

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IMG_1938

View from my classroom window

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
                                              Frost, “Nothing Gold Can Stay”

 

Is it merely my morbid imagination, or has this been a dreary spring weatherwise?

Today, for example, like yesterday and the day before, a leaden sky darkens the land, muting nature’s first green.  And, since nothing gold can stay, it also follows that neither can gray, that the leaden sky and dank, chilly air won’t stay around forever.  Obviously, weather is constantly moving from west to east as the earth spins, so we can look forward to bright days ahead, and dark days, sickness and health, until death slams the door and the picture making machine shuts off, which doesn’t faze me one iota.  As the poet sez, “I don’t remember any problems I had before I was born.”

I do remember, however, it was a bright sunny but below-freezing day when I repeated after the pastor those words “in sickness and in health” and that Judy’s, my bride’s, expression seemed beyond earnest as she stared me in the eye, looking beyond sincere, and her ardor sort of surprised me, and I felt sort of guilty, abstracted there at the altar, thinking not about the vows but about how she looked and wondering what my expression looked like. In other words, I was distracted, out of time.

judy-the-bride

The good news is that we got to enjoy thirty-nine-and-a-half earth revolutions before death did us part, and it’s almost been a year since then, eleventh-twelfths of a revolution, a quick year, eventful, often lonely but not always.

I’m sitting here at school between conferences with someone else’s advisees (their advisor’s on maternity leave), and it’s the last time I’ll ever do so (mine or all seniors, and I won’t be assigned any new ones). Even though I’m not at all adept at negotiating the byzantine grids of requirement, I am good at engaging parents in small talk, playing the Yeatsian role of sixty-year-old smiling public man (what he calls “a comfortable kind of old scarecrow”).  Nevertheless, I won’t miss having advisees next year, the way I might miss teaching “Among School Children.”  Will I even come to school on conference day or instead practice at being retired by riding my bike to the Lost Dog for a croissant?

I find myself less and less in a hurry nowadays, and when I eventually do retire, I hope to never be in a hurry ever again. Old age can have its compensations, educated offspring, paid mortgages, free time.

So c’mon, sun, break through; match my mood. I’m done with school for today. I get to hang out with Walker Percy for the rest of the early afternoon and then look forward to whatever.

A Paean To Ireland, Sort Of

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View from A Rented Cottage in County Clare, photograph by Wesley Moore III

Although I’m certain I have a drop or two of Irish blood, I’m not of the Catholic immigrant variety with distant cousins in Kerry or Donegal. Nevertheless, ever since I saw at the age of seven Darby O’Gill and the Little People, I have loved that “little green place” and its soulful inhabitants, its poetry, music, fairies and leprechauns, its abundance of foxgloves, and those mountains in the distance so vaporous it looks as if you could puncture them with your forefinger.

And, oh my god, that rainbow I encountered in 1978 outside of Limerick!

Judy Birdsong Preparing Supper in County Cork, photograph by Wesley Moore

Ireland was the first place I went abroad at twenty-five, and I have been twice again since. In the previous century, Judy, our boys, and I rented cottages, burned peat, shopped at the butchers, drank and listened to music in the pubs, climbed Ben Bulben’s back, and crawled our way up Croagh Patrick.

Ned Moore descending Croagh Patrick, photograph by Judy Birdsong

We got to know our neighbors, so hospitable. Here below are the boys helping John Joe O’Shea shear a sheep near Bantry Bay on the Berea Peninsula in County Cork.

Ned and Harrison Moore and John Joe O’Shea shearing sheep

What truly astounds me about Ireland, though, is how an island the size of South Carolina could produce so many literary masters– Swift, Goldsmith, Yeats, Shaw, Wilde, Joyce, Beckett, and Heaney, to name the ones who come immediately to mind.

Despite his kooky mysticism and rightist politics, Yeats is my hero, and despite his arrogance and sometime meanness, Joyce is my hero.

Joyce, of course, had his issues with his native land. For example, Dubliners isn’t exactly what you would call a flattering portrait of that city. I’m currently on Disc 30 of the Donal Donnnelly/Miriam Healy-Louie recording of Ulysses, “Episode 16,” the so-called Eumaeus episode when Bloom and Stephen seek refuge in a cabman’s shelter after Stephen has been punched out by an English soldier.

An old tar, DB Murphy comes into the shelter and asks Stephen if he knows Simon Dedalus, Stephen’s father, and Stephen says, “I’ve heard of him.” The seaman answers, “He’s Irish [. . .] All Irish.” Stephen “rejoins” (to use Joyce’s dialogue prompt) “All too Irish.” As a Southerner, I can certainly identify with Stephen’s love/hate relationship with his native land.

Anyway, listening to Donnelly read Joyce’s rich broth of Anglo-Saxon and French-derived words, I have gotten the cadences stuck in my head, and to purge them, I’ve composed this negative ditty, trying to stick with only Anglo-Saxon, through which I mean not to stereotype my Irish brethren but merely to make music out of misery.

 

Manic Irish Reeling

Slop flung from a window above

Splatters on stone in globby plops.

 

Curses, fists, flung and shook,

Shuffling brogans, baleful looks.

 

“With a high ro and a randy ro and my galloping tearing tandy O!”

 

After toil a stop at the pub,

Reeking redbearded guzzling swabs

Fritter away their coppery coins

Picking scabs by swapping tales.

 

“With a high ro and a randy ro and my galloping tearing tandy O!”

 

Baggy-eyed mothers fret

Greedy sucklings at their breasts,

Keening toddlers at their feet,

Their stillborns gone, but not forgotten,

Their overripe love on the road to rotten.

 

“With a high ro and a randy ro and my galloping tearing tandy O!”

 

Out in the street across the way

Waifs and strays banding about.

Rail thin curs and scrawny cats.

Yelping and mewling till the sun comes up.

 

“With a high ro and a randy ro –

 

Hit it!

 

“With a high ro and a randy ro and my galloping tearing tandy O!”