Showing posts with label Galway Kinnell. Show all posts
Showing posts with label Galway Kinnell. Show all posts

Monday, January 2, 2012

The Cellist

At intermission I find her backstage
still practicing the piece coming up next.
She calls it the "solo in high dreary."
Her bow niggles at the string like a hand
stroking skin it never wanted to touch.
Probably under her scorn she is sick
that she can't do better by it.  As I am,
by the dreary in me, such as the disparity
between all the tenderness I've received
and the amount I've given, and the way
I used to shrug off the imbalance
simply as how things are, as if the male
were constituted like those coffeemakers
that produce less black bitter than the quantity
of sweet clear you pour in—forgetting about
how much I spilled through unsteady walking,
and that lot I flung on the ground
in suspicion, and for fear I wasn't worthy,
and all I threw out for reasons I don't understand yet.
"Break a leg!" somebody tells her.
Back in my seat, I can see she is nervous
when she comes out; her hand shakes as she
re-dog-ears the top corners of the big pages
that look about to flop over on their own.
Now she raises the bow—its flat bundle of hair
harvested from the rear ends of horses—like a whetted
scimitar she is about to draw across a throat,
and attacks.  In a back alley a cat opens
its pink-ceilinged mouth, gets netted
in full yowl, clubbed, bagged, bicycled off, haggled open,
gutted, the gut squeezed down to its highest pitch,
washed, then sliced into cello strings that bring
a screaming into this duet of hair and gut.
Now she is flying—tossing back the goblets
of Saint-Amour standing empty,
half-empty, or full on the tablecloth-
like sheet music.  Her knees tighten
and loosen around the big-hipped creature
wailing and groaning between them
as if locked with her in syzygial amplexus.
The music seems to rise from the crater left
when heaven was torn up and taken off the earth;
more likely it comes up through her priest's dress,
up from that clump of hair which by now
may be so wet with its waters, miraculous as the waters
the fishes multiplied in at Galilee, that
each hair wicks a portion all the way out
to its tip and fattens a droplet on the bush
of half notes now glittering in that dark.
At last she lifts off the bow and sits back.
Her face shines with the unselfconsciousness of a cat
screaming at night and the teary radiance of one
who gives everything no matter what has been given.


by Galway Kinnell


Flies

Walt Whitman noticed a group of them
suspended near his writing table at lunchtime;
at sunset he looked up and there they still were,
"balancing in the air in the centre of the room, darting athwart, up and
                        down, casting swift shadows in specks on the opposite wall
                        where the shine is."
When a person sits concentrating hard,
flies often collect in one spot, in a little bunch,
not far from the brain, and fly through each other.
The next day you can see them in a shaft
of sunlight in the barn, going over an intricacy.
Sometimes they alight on my writing-fingers
as I form letters that look like drawings of them,
or sit on the typewriter watching the keys hit,
perhaps with some of the alert misapprehension
of my mother, when I was in high school,
at the sporadic clacking coming from my room.
Karl Shapiro addressed a fly:
"O hideous little bat, the size of snot!"
Yesterday I killed a fly that had been trying
to crawl up a nostril and usurp a snot's niche.
On being swatted, it jettisoned itself
into my cup of coffee.  When I swat and miss,
the fly sometimes flies to the fly swatter,
getting out of striking range by going deeper
inside it, like a child hugging the person who has just
struck her.  Or it might alight on my head.
Miroslav Holub says that at the battle of Crécy a fly

                                                                        alighted
                        on the blue tongue
                        of the Duke of Clervaux.

When Emily Dickinson's dying person dies, a fly's
"blue — uncertain — stumbling Buzz" goes with her
as far as it can go.  If you fire the stoves
in a closed-up house in the fall, the cluster flies,
looking groggy, will creep from their chinks
and sleeping-holes, our of seeming death.
Soon, if the sun is out, hundreds will appear,
as if being born right there on the window glass.
When so many vibrate together, the murmur
Christopher Smart call the "honey of the air"
becomes a howl.  Seiki observes in himself
what is true of me too:

                        Once I kill
                        A fly I find I
                        Want to massacre them all.

Then Antonio Machado cries But . . . but . . . they

                                                                        have rested
                        upon the enchanted toy
                        upon the large closed book,
                        upon the love letter,
                        upon the stiffened eyelids
                        of the dead.

John Clare, who came like the Baptist to prepare us
for the teachings of Darwin, tells us flies
"look like things of the mind or fairies, and seemed pleased or dull
                        as the weather permits in many clean cottages, and genteel
                        houses, they are allowed every liberty to creep, fly or do as they
                        like, and seldom or ever do wrong, in fact they are the small or
                        dwarfish portion of our own family."
James K. Baxter said New Zealand flies regard him as their whenua,
which in Maori means both placenta and land.
In the year of Clare's birth, William Blake asks:

                        Am not I
                        A fly like thee?
                        Or art not thou
                        A man like me?

He could not have known the tsetse spits into its bite
the trypanosome, which releases into us
a lifetime supply of sleep, even some extra,
or that the flashy, green, meat-eating botfly
needs flesh to bury its eggs in, living flesh will do,
or that his diminutive cousin, the fly
walking on the lips of his baby, scatters manure
behind him as copiously as the god Sterquilius.
Martin Luther said, "I am a bitter enemy to flies.  When I open a book
                        for the first time, flies land on it at once, with their hind ends,
                        and nose around, as if they would say, "Here we will squat, and
                        besmirch this book with our excrement."
The wanton among us, who kill flies for our sport,
like to hear of the evil flies do.  Then we swat
with more pleasure, as if we did God's work.
"Is this thy play?"  Edward Taylor cries.  "For why?"
I think I have a fly inside me.
It drones through me,
at three A.M., looking for what stinks,
the more stinking the better, a filth heap
old or new, some regret, or guilt, or humiliation,
and finds it, and feed, waking me,
and I live it again.  Then, with an effort
of will feeble enough if compared with my mother's
when I arrived almost too late at her deathbed
and she broke back through her last coma and spoke,
I swing at it, and it jumps up and swerves away.
I do not think this fly will ever go.
It feels like part of me, and it might no leave
until I rattle out a regret
sufficient to the cause and close the account.
Then it might come out and, if the stove is lit
and the autumn sun bright, fly to the window
above the table, or, if the day is gloomy,
crawl up my upper lip and enter
that nostril at last.  So I swat,
flailing at the window without aiming,
until the windowsill, and the big, open
Webster's First, and the desk and part of the floor
are speckled with their paltry remains,
strewn thick as the human dead in the Great War.
One of them rights itself, and walks,
and seems to feel OK, and flies.
My father righted himself out of the muck
where many thousands of dead
stuck out their blue tongues.  The Preacher says,
"Dead flies cause the ointment of the apothecary to send forth a
                        stinking savour."
Would that muck were an ointment a chthonic
apothecary oozes up in the earth's devastated places.
But no one who rights himself out of it
and walks and feels OK
is OK.
He knows something, and wants to keep others
from smelling it on him and knowing that he is
the fly in the ointment, wherever he flies.
As the treetops' shadow climbs the window
the flies creep up just ahead of it.
They often collide, and seem troubled and confused,
as though they came here for something
and have forgotten what, and keep looking anyway,
like my father, on coming to America.
When a fly stands motionless on a window,
I wonder if it is looking through the bottom
facets of its eye at the outdoors.
Federico García Lorca said that when
a fly buzzes inside a window,

                        I think of people
                        in chains.
                        And I let it go free.

A fly may not always want to go free,
though the radiant heat through the barrier of glass
may let it imagine that it does.  In this
it would be like my mother, in her ardor
for poetry, before she found out
that poetry was what I was up to in my life
—though not in her craving for love in her own life.
When she looked with her blue eye I am sure
it seemed wild and fiery out there and she knew she must go.
I find it hard to imagine that she did not,
at some point, with her big, walker's feet, tread hard
and break through.  More than once I felt
a draft of icy air.  But my sisters say no.


by Galway Kinnell

Oatmeal

I eat oatmeal for breakfast.
I make it on the hot plate and put skimmed milk on it.
I eat it alone.
I am aware it is not good to eat oatmeal alone.
Its consistency is such that is better for your mental health
if somebody eats it with you.
That is why I often think up an imaginary companion to have
breakfast with.
Possibly it is even worse to eat oatmeal with an imaginary
companion.
Nevertheless, yesterday morning, I ate my oatmeal porridge,
as he called it with John Keats.
Keats said I was absolutely right to invite him:
due to its glutinous texture, gluey lumpishness, hint of slime,
and unsual willingness to disintigrate, oatmeal should
not be eaten alone.
He said that in his opinion, however, it is perfectly OK to eat
it with an imaginary companion, and that he himself had
enjoyed memorable porridges with Edmund Spenser and John
Milton.
Even if eating oatmeal with an imaginary companion is not as
wholesome as Keats claims, still, you can learn something
from it.
Yesterday morning, for instance, Keats told me about writing the
"Ode to a Nightingale."
He had a heck of a time finishing it those were his words "Oi 'ad
a 'eck of a toime," he said, more or less, speaking through
his porridge.
He wrote it quickly, on scraps of paper, which he then stuck in his
pocket,
but when he got home he couldn't figure out the order of the stanzas,
and he and a friend spread the papers on a table, and they
made some sense of them, but he isn't sure to this day if
they got it right.
An entire stanza may have slipped into the lining of his jacket
through a hole in his pocket.
He still wonders about the occasional sense of drift between stanzas,
and the way here and there a line will go into the
configuration of a Moslem at prayer, then raise itself up
and peer about, and then lay \ itself down slightly off the mark,
causing the poem to move forward with a reckless, shining wobble.
He said someone told him that later in life Wordsworth heard about
the scraps of paper on the table, and tried shuffling some
stanzas of his own, but only made matters worse.
I would not have known any of this but for my reluctance to eat oatmeal
alone.
When breakfast was over, John recited "To Autumn."
He recited it slowly, with much feeling, and he articulated the words
lovingly, and his odd accent sounded sweet.
He didn't offer the story of writing "To Autumn," I doubt if there
is much of one.
But he did say the sight of a just-harvested oat field go thim started
on it, and two of the lines, "For Summer has o'er-brimmed their
clammy cells" and "Thou watchest the last oozings hours by hours,"
came to him while eating oatmeal alone.
I can see him drawing a spoon through the stuff, gazing into the glimmering
furrows, muttering.
Maybe there is no sublime; only the shining of the amnion's tatters.
For supper tonight I am going to have a baked potato left over from lunch.
I am aware that a leftover baked potato is damp, slippery, and simultaneaously
gummy and crumbly, and therefore I'm going to invite Patrick Kavanagh
to join me.



by Galway Kinnell

The Bear


1
In late winter
I sometimes glimpse bits of steam   
coming up from
some fault in the old snow
and bend close and see it is lung-colored   
and put down my nose
and know
the chilly, enduring odor of bear.

2
I take a wolf’s rib and whittle
it sharp at both ends
and coil it up
and freeze it in blubber and place it out   
on the fairway of the bears.

And when it has vanished
I move out on the bear tracks,
roaming in circles
until I come to the first, tentative, dark   
splash on the earth.

And I set out
running, following the splashes
of blood wandering over the world.
At the cut, gashed resting places
I stop and rest,
at the crawl-marks
where he lay out on his belly
to overpass some stretch of bauchy ice
I lie out
dragging myself forward with bear-knives in my fists.


3
On the third day I begin to starve,
at nightfall I bend down as I knew I would   
at a turd sopped in blood,
and hesitate, and pick it up,
and thrust it in my mouth, and gnash it down,   
and rise
and go on running.


4
On the seventh day,
living by now on bear blood alone,
I can see his upturned carcass far out ahead, a scraggled,   
steamy hulk,
the heavy fur riffling in the wind.


I come up to him
and stare at the narrow-spaced, petty eyes,   
the dismayed
face laid back on the shoulder, the nostrils
flared, catching
perhaps the first taint of me as he
died.


I hack
a ravine in his thigh, and eat and drink,   
and tear him down his whole length
and open him and climb in
and close him up after me, against the wind,
and sleep.


5
And dream
of lumbering flatfooted
over the tundra,
stabbed twice from within,
splattering a trail behind me,
splattering it out no matter which way I lurch,
no matter which parabola of bear-transcendence,   
which dance of solitude I attempt,
which gravity-clutched leap,
which trudge, which groan.


6
Until one day I totter and fall—
fall on this
stomach that has tried so hard to keep up,   
to digest the blood as it leaked in,
to break up
and digest the bone itself: and now the breeze   
blows over me, blows off
the hideous belches of ill-digested bear blood   
and rotted stomach
and the ordinary, wretched odor of bear,


blows across
my sore, lolled tongue a song
or screech, until I think I must rise up   
and dance. And I lie still.


7
I awaken I think. Marshlights
reappear, geese
come trailing again up the flyway.
In her ravine under old snow the dam-bear
lies, licking
lumps of smeared fur
and drizzly eyes into shapes
with her tongue. And one
hairy-soled trudge stuck out before me,
the next groaned out,
the next,
the next,
the rest of my days I spend
wandering: wondering
what, anyway,
was that sticky infusion, that rank flavor of blood, that poetry, by which I lived?


by Galway Kinnell