Showing posts with label Harold Bloom. Show all posts
Showing posts with label Harold Bloom. Show all posts

Wednesday, December 1, 2010

My 3,000 Loving Arms Blooms. Why I like blogging. Daniel Rifenburgh.

First, a note about blogging.

I'm finding daily posting here lifts my spirits. It's the act of writing and the sense of contact. With humans. It's like having the answer, or thinking I have the answer, and getting called on, telling the class my great idea about, say, symbols in cymbals. It's the relief following a deep sigh.

(Looking back, it wasn't me raising a hand in class. Looking back, I was far too shy. Looking now, a blog circumvents shyness.)

Since July 2010, the numbers for My 3,000 Loving Arms have more than tripled. I know that doesn't entirely represent readers--some come in search of an image or hoping to see 15,000 fingers. But still.

Today is the first day of advent which always reminds me of the glee, when I was a kid, of opening the little window on an advent calendar, the bits of glitter and very Euro-kitsch. For today I googled "advent poetry" and discovered some less than stellar work and some work too overtly religious (overtly religious is often less than stellar, too, being without invention).  The title of Daniel Rifenburgh's collection, however, is Advent. And this poem, "Turf Tract," wins my heart with its literary discussion, something I love, ultimately focusing on the personal and particular, ditto.

Like poets Doug Anderson and Yusef Komunyakaa, Rifenburgh is a Veteran of the Vietnam War. Like a bad editor I almost added a bit of punctuation at the end of this poem. Duh! I do have higher angels.

Turf Tract

In Shelley's last, unfinished poem,
In Shelley's great poem which is without closure
Because the poor poet drowned in water,
in Shelley's great "The Triumph of Life,"
The last word of which is "of"
And the whole thing stops right there
While Shelley goes out to take in a boat ride
(Talk about your Lethe and Nepenthe!),
We meet, according to Harold Bloom
And Lionel Trilling, "Rousseau,
Prophet of nature, serving
As a surrogate for Wordsworth, entering
The poem as Virgil, the guide to Shelley's Dante,"
And all of this is related to you by Rifenburgh.

It's much easier, and sometimes as rewarding,
To study the bloodlines of flat-track thoroughbreds,
Such as: Raise A Bid got out of Botcha
Botcha's Bid, or, This
Is Enough from On To Glory
Gave This Is Glory, especially if he won,
But Life always wins. It's got
By Spirit out of Some Kinda Shit
And the odds are a zillion to one
(Or, is it one to a zillion, I forget)
That Life is going to win,
Going to suck you in, and Something Spritely
Is the racing name of that foal.

How can you resist her?
Who said you should?

Shelley did;
Laid his pen aside for an hour
And died, gasping water for air, air
And Life.

I sat in my car outside the track
And counted my losses.
Life lay down with death beside me
And they had the nerve
To fornicate in front of me.

I was thinking how Mar Best gave
Mon Go Fast by Mongo
And mon do go fast
But the colt, he finish last
And my money was wasted
Fast as life, fast as that,

Fast as was the track
Where the fleet hooves
Tossed up the turf;
The little clods of this our earth,
The quick, high flinging and falling of

______
Daniel Rifenburgh, Advent, Waywiser Press, 2002.

Wednesday, September 23, 2009

First book advice: The Future Is Happy

Now that my first book, the poetry collection The Future Is Happy has its own page on the SPD (Small Press Distribution) website, I am ready to talk.

Now independent bookstores can order it, and independent book readers frequenting independent bookstores can buy it. This is big. At least for me. The Future continues to be available from Amazon, my publisher (BlazeVOX) and from me.

I'm a lucky duck to get published over-the-transom. I did try four or five contests run by literary presses or university presses, didn't win, knew I could not afford the fees and slightly mistrusted the process (not fair of me, really), so I started searching elsewhere.

When my manuscript was accepted I was given a piece of advice, as if advice were a cherry pie I could gobble down. A friend with three books out told me not to try for a perfect book.

"It'll lock you in. You'll always have to live up to it. Who wants precious?"

I appreciated permission to be imperfect. Those gem poems of mine were in the book, but so were poems a little more ragged - though loved by me. Who's to say in the long run which is a more meaningful experience of a poem? Well, the reader is to say. Harold Bloom and Helen Vendler. But really I write for greater closeness and salvation, corporate and always mystical.
The way is sure but it's got to be varied. So many are on the path.
Because my book was accepted during the ongoing economic meltdown, there were delays and more delays. By the time I received the first proof I saw a few things I wanted to change.

With Geoffrey's (my pub.) blessing I swapped out a few poems. As with any project, time away offers perspective. My reasoning in choosing new work, some of it written after the book was accepted, was to make the whole more whole, the more whole stronger, but not to make it perfect.

I am not a perfect person and less so a perfect poet. I am not a perfect poet and less so a perfect person. A stream of hot radiant light is focusing my next book. I have nothing to live up to, in following The Future Is Happy, but nothing to live down. I am proud of it, amazed it ever happened - I am sixty - and ready to be ready.

Note: Cover photograph by Susan Tamany.