Games

Growing up we had a frequent Sunday night family game with card games & board games. I don’t recall exactly when it started but may bother & sisters were included. We would play in the dining-room, which we rarely used for dining. The table was large enough & was usually clear of stuff. Card games were simple enough Hearts, Crazy 8s. I was told by my Dad not to try too hard to win to my siblings had a chance.

We graduated to Rummoli. I checked it out online & the fold out board is familiar but the rules for the various elements boggle the mind. I recall Cribbage mainly because keeping score was a pain. Gin Rummy was another but that too was a point counting challenge. I usually let someone else keep score for both.

Although we had Monopoly & Scrabble, the board games I recall best are Stock Ticker & Careers. Both were dice games with playing pieces. In Stock Ticker one bought & sold shares as they went up & down with rolls of the dice. The game had its own paper play money. It could go on forever, I think. Or maybe it was over when all the play money was gone or someone had gone bankrupt. The one with the most money was the winner.

Careers was a sort of Monopoly variation. Rolling dice. Moving your piece around the game board & landing on good or bad squares. There was also a form to fill in of what you wanted: fame, money etc. The winner was the one who first fulfilled what they filled in on their form. I was fond of going for all love or all fame as $ wasn’t as lasting 🙂

With the lockdown I hope more families are trying to this old school games. I have tried the computer/video versions of some of them but I like the simplicity of the hard copy 🙂 Card games are too fast even if the computer keeps score. The electronic sound of dice rolling or cards shuffling isn’t as satisfying. Besides you can’t ask the desktop to get you a sandwich while it’s up 🙂

(games photos sourced via yahoo images)

Eggs Rule

there were more eggs 

than the eye could see

they stretched from one door to the next

from one telephone pole to the next

balanced on electric wires

dangling from the tips of tree branches

<>

eggs of all colors and sizes

robin’s blue so simple and pure

lumpen grey brown emu 

shells that couldn’t be cracked 

shells that cracked at a slight breeze

eggs in mailboxes on street corners

rolling around with nothing to do

aimless without purpose

loitering without intent

<>

eggs looking to be scrambled

to be fried by the right pair of eyes

the temptation to let them all hatch

had to be resisted

too many feathers

the gritty remains of shells under foot 

was irritating enough without 

moulting and feathers in the equation

feathers that held microbes mites diseases

eggs were harmless

as long as they remain intact

it was hard to avoid them

<>

eggs on the subway

leaning over your shoulder 

hinting they wanted to sit down

trying to nestle in your pockets

for warm incubation

eggs on tv telling 

newsmen what to say

controlling the weather

refusing you a loan at the bank

spinning dizzy

at any hint of being interested 

in anything you say against them

<>

eggs rule the world now

we might as well accept that

put down that spatula

don’t go near that whisk

eggs are in control

so surrender

this is their world now

it always was

we have been forced out of denial

the truth can finally be told

<>

eggs invited the light bulb

made the first Atantic crossing

landed on the moon

all history books are to be revised

to reveal the awful inadequacy of humans

in the face of facts

that showed our greedy eagerness 

to hog all the fame acclaim glory

that belongs soley to the egg

the egg that wrote the ninth symphony 

the gg that found the first the rose

the egg that invented the book of love

and now wants 

to tear out all the pages

wants to break our hearts

to serve them sunny side up

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Nine

Nine

O when I was nine

I was still a child

there was no instant communication

news travelled slow

on the radio TV newspapers

that provided an innocence

I knew about war

because my Dad had fought in one

he was a man

my mother was a woman

I was a boy child

who only knew what the culture 

of the time

expected of my gender 

<>

O when I was nine

I did know I wasn’t like other boys

I played backlot baseball

I played with dolls

I  wasn’t the boy my dad expected

I didn’t like to fight

like other boys

I never understood 

why physical violence was required

to be accepted

<>

O when I was nine

I learned to swim

looking at the differences

between boys and girls

anatomy I didn’t understand

the boys where more interesting

I knew shame

when we were caught

I had fear

but no closet

sex was dirty regardless

of the gender of the object

<>

O when I was nine

I don’t that I was making waves

as I waded from nine to nineteen

by the time I left nineteen

I knew

these were dangerous waters

at nine there was only

the fear of getting caught

not the fear

of my culture drowning me

like an unwanted litter of kittens

I heard on a TV documentary about children that our sense of self was basically formed by the time we are ten years old. By then we have absorbed the ‘teachings’ of TV behaviours that inform our subconscious. So, back in the day, I was aware of what the culture of the time expected of my gender. I was also aware that it wasn’t the right fit but I hadn’t developed the language for that beyond feeling it was the wrong fit. Today thanks to instant communication children have a greater knowledge of gender variations. I doubt that at the age of five I would have understood what a faggot was, children today do know what it means. 

Where was I when I was nine? We had just settled in Sydney, Cape Breton after moving across Canada for a couple years. My mother & I had spent some time with her family in Wales during this time as well. I remember ‘living’ in Moncton, Stellerton or was it Truro for short periods of time & going to schools there, briefly. Finally in Sydney, were we lived in three different neighbourhoods before my dad bought a house in Ashby.

One result was that I spent those formative years as a displaced person – someone who was different. My Dad prodded me into things that could show me how to ‘fit in’: cub scouts, YMCA. I did the best I could but felt like an outsider &, as I recall, was fine with that. I did get these weird mixed messages ‘why can’t you be like other kids’ then when I wanted some fad item ‘why can’t you think for yourself.’

I survived partially by hiding in booze & partially by writing & painting as I gradually found language for what I was. Though then that language was loaded – an abomination unto the Lord – sort of stuff. Today I know the tragic flaw wasn’t my sexuality but the way culture regarded not only lgbtq but sexuality itself.


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Dear Santa

My mother was a memory hoarder. My sister has been going though boxes of things stored in our family home & has unearthed things from my past. This letter to Santa was one of those treasures. It tells me so many things about myself at that time – when was that time? Probably when we first moved to Cape Breton in the mid50’s. Before my brother was born. While I was learning cursive writing in school.

The spelling mistakes & writing errors are things that I am still plagued by in my hand written notes. Even then I couldn’t write as fast as I thought & so my letters stumbled over each other resulting in scratching words out or writing over them. 

I can remember learning cursive in grade school. We had to have a special scribbler with lines to train us how to keep uniform sizes for small & capital letters. I have vague memories of the actual exercises but, much liking tying my shoes, there is no specific moment. I do see the influence of my Dad’s writing in the shape of some of the letters.

I was very keen on that cowboy suit. It was not the first one I had – it was a hat, vest, chaps & a two-gun holster. A cowhide print but probably not on cowhide. I recall getting fire engines a few times. Red plastic with ladders that could be swivelled & cranked up with a gear. I love me asking for ‘any old toys you don’t want’ Even then there was no such thing as enough but willingness to accept the mystery ‘any.’ 

I suspect the ‘thank you’ was suggested by my mother though, that’s not the sort of thing I would have added. An early lesson in trying to curry favour though gratitude. The ‘good at school’ sounds like me. I can’t say if that ‘good’ means if my marks or my behaviour had improved 😉 

Envy

if I want what I want

& want it now

does that make me 

motivated

decisive

or obsessive

<>

is it better to be goal driven

or to live in the moment

is what happening now 

as an end itself 

rather than a step 

to something  better

something so much better in fact

that is happening now

loses flavour

makes me impatient for this to be over

so I can get on to the next best thing to do

<>

if i don’t what i have now

how did i end up with it

should i have had better plans

did i miss the turn

take the wrong page 

out of the wrong book 

& end up with the last thing i wanted 

or is this what i want

but don’t recognize it

have i been blindsided 

by some urge 

that spun me so far off reality

that i no longer know 

what i like anymore 

do i want what what i have

<>

if i have what i want

is it important to reach fulfillment

is contentment settling for less

or accepting things as they are

because things aren’t that bad

pretty good in fact

though it took some time

to sort through wants needs 

haves 

& don’t needs

<>

i always thought i wanted 

to be adored

worshipped in fact

because being loved 

wasn’t fulfilling

then it dawned on me

that what i really wanted was envy

i wanted people 

to wish they had what i have

not that i know 

what i really do have

<>

it took awhile to sort that out

to filter it through 

the expropriations of cultures 

to a point where i had 

a hard kernel of fact 

that then escaped me[

because there are so many

bubbling hesitations to distract 

direct my attention

that i forget what i discovered

so maybe that isn’t 

the hard truth either

though i’m better off now 

than i was once upon a time

when the world was young

and i was a mere boy

on his way to the old fishing hole

dangling a can of worms 

on the end of his line

hot sunny day barefoot on the path

he walks down to the stream bank

warm rocks to sit on

not evening thinking of writing a word

or getting laid

just being

just being

without want

<>

now that is something to envy

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Distant Music Coda

It has been fascinating to go back into my past by reading & writing about this chapbook. Memories of writing the pieces have been fragmentary, to say the least. Motivation, inspiration & locations are more nostalgic than revealing. 

Many old the first drafts were written by hand run little note books, many on my clunky typewriter in my basement room in the family home – that room is still there though I think it’s had new floor & walls since I left. The walls were covered with my paintings, shelves of books, lps, my stereo system & my little desk.

Some in my first apartment in Sydney. I shared a workroom with my roommate. He made pottery & I made poetry. I remember renting an electric typewriter to do the final drafts of Distant Music. That  second-story apartment had a huge front balcony where I would sit & write in notebooks & drink. This was the first time I had a room for sleeping & one for writing.

Some of the poems are solid, some reflect the pop music of the time, the striving to be deep, poetic rather than … I’m not sure what ‘than’ … I wanted to impress as much as I wanted to express something about myself. I was in the process of coming out, letting go of the pretence that I was bi so the sexuality that appears in the work is very suppressed.

The sequence of the pieces was mine & the flow, in general is pretty good. Today I would probably have not started with the Dance but with something less abstract such as Woodsman – which would invite readers to search for the chainsaw wielder. 

a piece that didn’t make it into the chapbook

Having Lost

having lost that moment

when we stood side by side

I wander down some well-worn path

looking neither way

without stumbling over unseen stones

I wonder of it’s possible that

I might have been wrong

if I should have given in this time

& said what you wanted to hear

I wonder off it’s possible that

I might have been wrong

having lost that moment

I wonder if I was wrong

<>

having lost that letter

she sent me the next day

I wonder where she is

perhaps I’ll see her tomorrow

perhaps she’s hiding in yesterday

maybe she too thinks she was wrong

maybe she’ll soon come along 

then again yesterday 

may hold her too well

I could never her again

not know where to look

having lost the letter

she sent the next day

<>

old men wearing

white hats pass me by 

nodding & asking why

I sit so young 

yet am so alone

<>

having lost all sense of time 

I find that question still unanswered

was I wrong? was i right?

either way i lost that fight

now I stand & watch her pass by

a memory of my yesterday

me a memory of her yesterday

our lives going on, apart

complete but not the same

having lost that moment

I wonder who was wrong

August 69

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Music

Distant Music

<>

1

<>

hush … can you hear the cat music

playing on flaying pigeon wings?

it brings out the hidden claws

of the once delicate lap warmer

now leaping wildly off the thinnest edge

to the beat of singing sounds

stirring safely behind glass

<>

2

<>

wittingly filling the room

with clicky busy city sounds

a thousand tiny tappers

rapping rhythms into the air

faster faster faster still

yet never flying to pieces

as I feel like doing

while lazily scrawling

symmetrical patterns

from my random pressures

wondering if the jazz flow

sounds as smooth to others

as it does to me

<>

3

<>

sometime I cannot make the energy

to go back over the old wrinkles

to make them smooth & clean

for the defining eyes of pryers;

I end up in some big armed chair

where I sit & stare so long

that I become a pile of creaking bones

yellowing skin & longing songs

<>

beside me now are empty chairs,

in front, beyond naked window.

crawls the night city sparkling

like a cluster of earth-bound stars

the wind whistles in dance

up & down the barren streets;

someone must be out there

to turn off & on all the stars;

but I cannot move

beyond these empty chairs

<>

while the dark & sullen moon

turns the stars aside to guide me

into letting the oars slip from my craft

so I can drift at last into my lover

<>

4

<>

changed are the ways of this Welsh lad

the days of longing are upon him now

with the first hint of cornfed comfort

making the long-by-gones seem so fine

here in the middle of my toss-up time

<>

I keep getting the feeling one gets

on dark, rain-spun, cloud-thick days

while looking out great bay windows

knees resting on velvet window seat

watching the mist nest in the elms

dawdling lazy-grey over the endless fields

of early morning English country side;

we discuss cricket or the government –

“frightfully so …

“rather, shall we say, common …

hey! hey!

stop the wheels before we go out of control

I’ve never been this close to that home

till now, & I hope, maybe, somehow

the clouds will have lifted by the time

I step, spanking-new, over-night, into there

<>

5

<>

hush … can you feel the man sounds

sailing on wailing baby cries 

it tries out the reveal cause

of the never ready bed charmer

now pacing softly the thickest floors

to the hum of distant music

floating unsure from Welsh hill

<>

Oct73

1 – I was visiting a friend in Halifax when I wrote this first section. I went there to see him & also to buy music that didn’t exist in the Sydney record store. One of the albums was of electronic/experimental music by the likes of Pauline Oliveros – yes even then I was pretentious enough to like the real thing 🙂 The music pulsed like wings flapping. My friend’s cat jumped up to the window ledge to confront the pigeons in the balcony but there were none there.

‘the thinnest edge’ is how one can leap to the wrong conclusion & get caught trying to figure out how to get back to solid ground. I’ve always had a ‘fear’ of balconies.

2 – I always write to music. These were the days of manual typewriters, when working on a manuscript could be retyping a whole page to correct a single typo. I was an okay typist & loved the sound in my workroom of the click of keys, the tempo of the pounding. Then I could never type fast enough to capture what I was thinking. 

I think the music I was more fascinated by was Santana’s Abraxas – chasing a thousand tiny percussionists with my keyboard. I was also digging Weather Report, Miles Davis’s Bitches Brew. Writing as fast I could before I flew to pieces.

3 – The old wrinkles are typos, edits, rewriting, re-sequencing the verses in a poem. I was also writing a novel at the time so energy was flowing in several directions. ‘creaking bones’ echoes ‘skin & bones’ from an earlier poem. The final verse is a direct reference to Dylan Thomas’s “In my Craft or Sullen Art.” Though at this time I had no lover to drift into.

4 – The Welsh connection continues in this section. This sense of of my heritage doesn’t appear in the chapbook until now. There is a feeling of the east coast, of Cape Breton, that is present in some of the pieces but here I am relishing, or it is wallowing, in my own roots.

After traversing Egypt, Japan, Africa & am brought back to my ‘toss-up time’ & my own origins. The workshops at UNB were acknowledgements of me as a writer – the ‘toss-up’ was the decision of what to do with my expectations of being taken seriously. Was it to dream of this romantic ‘velvet window seat’ success or something more realistic?

5 – a reprise, with variations, of the first part of this poem. ‘cat music’ becomes ‘ man sounds.’ ‘bed charmer’ echoes ‘bed-ridden’ from The Last Waltz  to give the whole book as sense of completion. The first piece in the collection invites you to ‘set sail on my body’ – this last verse asks you to ‘hear the man sounds/ sailing off wailing baby cries.’ The book progresses from that boy to this man. I hope you enjoyed the journey.

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Valentine

A Valentine

forced to love, 

now that’s a tear-jerker,

having heard no man

is self-contained & complete

I am forced to love

made to search 

through warm & folding bodies

for isolated responses

for unsure coincidences of desire

sparked by demand

structured into relationships

for the perpetuation of the structure

desperation in every meeting

(will this be the one?)

the eternal lunging crush

prisoners of seduction

fixed positions

bayonets of loving thoughts

tender traps

looked for only the fall into

forced to love

to rationalize tenderness

politicized into affections

scandalized by survival

it’s all one to one

paired by demand

one alone becomes distrusted

forced to love

forced to love

Feb14/76

Of the pieces in the chapbook this is one of the ‘newest’ & reflects a definite stage in my growth philosophically & emotionally. I’m actually directly questioning cultural norms around romance, sexuality & indirectly probing the nature of gender. Clearly I am ‘questioning’ not yet coming out but opening that door 🙂

‘Paired by demand’ hasn’t changed all that much though. We live in a culture where being ‘single’ is seen as an an unhappy choice, a sign of emotional immaturity. Being trapped in an emotionally abusive relationship is for some reason healthier than being single. Getting out of one is merely making one ready for the right relationship to come along. If you wonder how we are ‘structured’ think of how impossible it is to afford to live alone. Most restaurants are at least two seats per table. Bars stools are about the only single seating offered. Drinking alone, yea.

At the time I wrote this I wasn’t as articulate about this squeeze of the cultural imperative to mate bond. Being queer & somewhat closeted at the time I was conflicted by trying to fit the heterocentric romance module I was presented with. The sacredness of fidelity, the sinful cost of pleasure. Folding bodies like folding chairs that only the right person could unfold. You’re nobody until somebody unfolds you.

Looking back I see how the exploration of the cultural mating imperative has become one of my running themes. Like masculinity, it is something that goes unquestioned. Marriage for love & not politic – i.e. merge alliances between nations, merging financial concerns – is a somewhat recent development – maybe 150 years old. The nature of ‘forced’ is one of convenience & control that is accepted & goes unrecognized. The deepest loves of my life have never been forced.

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Lady

Lady! Lady!

lady lady

put your parcels down;

forget the bus!

slip away with me;

live by my side

naked & nameless

for a day or two

your husband & the kids

may miss you a little

but will have to forgive

when they see the smile

reborn on your face

<>

you see me walking toward you,

the sidewalk is crowded,

a cloud hides the sun;

we can’t go on meeting this way,

I cannot bear missing this chance

every time our eyes meet

a moment long enough

for yours to scream

“yes! yes! OH YES!

take me! ravish me!

fair stranger so reckless

take me for a day or two

the shopping can wait;

my husband and the kids

can eat pizza, delivered,

just the way they like it;

they’ll be overjoyed at the chance;

despite the worry

they’ll forgive me

they always do”

<>

here comes your bus,

there’s still time;

it starts to rain;

throw your parcels away,

one is bursting already

crushed to your breast

the broken loaf of bread

slices falling at your feet;

I walk on one white crust

smiling directly at you;

you shrug, the weight of motion,

what can one do?

follow me! follow me!

I’ll take you for awhile

only a few naked seconds

your old cloth coat

crumpled on the floor

so its age won’t show

I’ll love your cologne

I’ll love you

<>

the doors kiss open

you hesitate

but get on

falling back a little

losing your balance

losing your grip on your routines;

I hand one back,

soft under crumpling paper;

a new sweater perhaps?

a blouse you’ve longed for

but never could afford?

(I’ll buy you thousands)

the husband & the kids

may miss the money

but when they see

how pretty you are in silk

they’ll forgive

<>

the bus pulls away,

my hands in overcoat pockets

stranded on the corner

waiting for the days to change;

I watch the grey shape pull away

I watch you fumble in your purse

as you fall into a seat

you look back

into the rain;

a smile flickers as I wave,

I’ll never forgive you

Fb 75

This piece has been one of the more enduring in the chap book – the one people still remember – the one that new readers will say – I really enjoyed the one about the bus. Several year ago an actress friend of mine included in her one woman poetry performance along with pieces by TS Eliot, James Joyce (yes yes yes). 

It is one of the story-telling pieces & became a poetry narrative structure I use frequently. You can read this piece & understand what is happening. It is almost like a film story board but with more subtext as text – a voice-over narration. It demonstrates one of the things poetry can do – with it one can select fragments to tell the story without having to fill in connecting details. 

One can use phrases like ‘the doors kiss open’ that gives a clear sonic sensation but also adds the sexual hint of ‘kiss’ – legs, like doors, can open to let in a kiss. As I recall it was piece that wrote itself. Edits were to add certain details ‘clutched’ became ‘crushed’ so that ‘crush’ would be echoed by crust.

The unspoken offer, mute opportunity, is the real story. The narrator is caught up in this fantasy, reading what he wants to see into every move of the lady. Does he even really make eye contact? How much of this actually happens: the bread, the falling back a little. Who hasn’t indulged in a sex fantasy on public transit while looking at a stranger, often looking away if the stranger looks back. Longing for contact it is easier to look away than acknowledge it.

Waiting for the days to change is a long wait. We have to forgive ourselves for opportunities not taken, for busses missed.

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Bones

Skin & Bones

<>

1

<>

taken for granted

all things fall

in place or out

but they fall

all the same

stumbling slowly through thick sunshine air

sky blue like an Egyptian ceiling painting

of a smiling, dying bull-crocodile god

<>

trying to retain

some simplicity 

of lines

in words or out

I fall

all the same

into more intensely abrasive catacomb

descriptions of finely stretched skin

over the most delicately carved bones

<>

skin & bones

all one owns

to to the best

we can

<>

skin & bones

skin & bones

plain folk homes

<>

2

<>

beating & tearing

at sound-blistered ears

hunting & hiding

from forest fire fears;

confused by understanding

mother figures teaching fingers

how to phone home

every time that feeling

of being lost creeps in

to sooth these tired ears

that cannot bear to hear

of home or phones

rattling up & down

this old box of

<>

skin & bones

all one owns

to to the best

we can

<>

skin & bones

skin & bones

plain folk homes

<>

May 73

Another piece built on repetition, structure, & conflicting sensations  – ‘abrasive’ ‘finely’. Echoes with no source or resolution. Verses start simple then stumble into complex syllables, allusions & confusing images so that ‘simplicity’ becomes ‘complexity’ so rapidly one never fully grasps the simple – it gets yanked out of your hands.

I was, still am, fascinating by the Egypt of the Kush. I watch endless documentaries on royal tombs, mummies, lost cities. On the east coast I read books on the Egyptian pantheon of god & goddesses. The story of Osiris was as compelling as the Christian beliefs that over-turned them. Sobek is the crocodile god, while Apis is the bull god. Why I put them together is lost to my memory 🙂

The chorus is a return to the simple. ‘catacomb’ contrasts with ‘plain folks homes.’ Also the realization that mummies, regardless of who they were, how old they were, how desiccated they were, they are still skin & bones. The same skin & bones we have today. The human body hasn’t undone any major structural change in the recorded history of mankind.

The second section steps away from simple to embrace busy images that flow in a dream like logic – blistered ears, to forest fires. Music has always played a big part in my life – I can remember coming back from hearing a live band with sound-blistered ears. As a drunk I sometimes suffered from telephonites –  calling friends to maintain, create some contact, context – that I may have found but never really felt. In the end I was doing the best I could to feel at home in my own skin & bones.

royal burial chamber relics?

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Coda

Song With Coda

<>

Song

<>

our voices

heard as echoes

over the windless

barren planes of speech

hope

someday to find

the end of the sentence

before they die

of no one to listen

<>

our eyes

seen as mirrors

reflecting dust

images of past mistakes

hope

someday to find

the quiet surface

before they are blinded

by no one to see

<>

our hands

used as tools

to wander aimlessly

over face & thighs

hope

some day to find

some other warm body

before they wither

from no one to touch

<>

our emotions

felt as fears

repressing old guilts

in search of absolution

hope

someday to find

the final tenderness

before they smother

from no way to express

<>

Coda

<>

even 

as my voice cracks from calling

hands bleed from grabbing at straws

eyes are blinded in the search

emotions are blocked by futility

I will cry out

reach out

search out

forever

until I find a way of touching you

<>

Jan69

This is one of the earliest pieces in the collection & as such is the most revealing of young-man excess & emotional melodrama. Nicely over-written with more force than I possibly felt at the time. It’s difficult for me to see any specific influence beyond nameless prog-rock lyricists. It makes me think of the dance pose of reaching out to some imagined horizon for the unobtainable. Sound & fury signifying the need to impress readers with the use of language 🙂

I wanted to write a poem that would make someone fall in love with me. I wrote many variations with this subtext in mind, which knowing it was an impossibility. Language can lead to connection but isn’t a magic spell.

It is another of my imposed structure pieces ‘our noun verb noun etc’ that gives each verse a pattern of theme & variation. The theme being the search for something or someone & the inner obstacles that have to be dealt with to find it. Reading it now I cannot say what the object was then – other than sounding deep & philosophic about the plight of the love lorn. Another of the closet subtext pieces where gender is avoided.

It reflects my fears of ‘no one’ because at that time there was no person who was the focus of my affections. I had lusts, longings for some but the urge was physical not emotional. Then I still believed a relationship was the way to fulfillment. Today I know relationships can be fulfilling but real fulfillment is a spiritual journey 🙂

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet 

Distant Harp

Wind Harp

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Night, gripping the stars,

tightly clutching the moon,

could only hold my glance briefly;

I knew it too well

one look brought back everything

too many jumbles of clustered sky

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so I was thinking of you,

my eyes closed,

blinking open for safety,

fast snatches of night, feeling the wind on my face,

hearing the tumbling leaves

prepare of the shock of rain

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I almost called your name;

funny,

me alone there in the night

calling to unhearing ears

instead of being home safe

out of the impending storm

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funnier still,

it never rained;

I waited, longing for it,

but, well, it never rain;

which was why

at five-thirty in the wind

I found myself asleep

with your name in my dreams

flashing in a torrent downstream

with a mile or so ahead

to leave your name behind

humming as blue

as the red morning air

Ah the pain of the dream of unrequited love. I had crushes but no real emotional involvements on the East Coast so perhaps the ‘you’ I was thinking of in this piece was not a person but the opportunity to be fully out. An opportunity like the impending storm that never materialized.

I enjoy the deliberate play of words that reflects struggle: gripping, clutching, tumbling, torrent. Clutching also implying ‘clutching at straws’ – the striving for unsubstantial, unattainable goals. The moon is always out of reach 🙂 

A wind harp (an Aeolian harp) is a real instrument. Often on top of a hill where it can be played by the wind. Sometimes a natural phenomenon created by trees growing in the right spot. Often man-made out of metal of different thickness, set at different angles to carve notes out of the wind. Ethereal. Great fun in cemeteries 🙂 I have a recording of Jan Garabek using a wind harp as part of a sonic texture. 

I like the ambiguity near the end – ‘found myself asleep’ – is the poem a dream of that windy hill or did I fall asleep on that windy hill waiting for rain that never came? I’ve also learned to ‘nail the landing’ by this point as that ending is perfect – unexpected & satisfying. The hum of the wind harp bounces the colours into a strange harmony.

I do have a limited number of the original Distant Music chapbook for sale for $25.00 each (includes surface mail postage). Send via the paypal above along with where to send it. paypal.me/TOpoet