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Showing posts with label Anne Carson. Show all posts
Showing posts with label Anne Carson. Show all posts

Saturday, February 27, 2016

Mind 6

"Carson believes that thoughts themselves matter less than the routes one takes between them. 'I don't know that we really think any thoughts; we think connections between thoughts. That's where the mind moves, that's what's new, and the thoughts themselves have probably been there in my head or lots of other people's heads for a long time. But the jumps between them are entirely at that moment.' She says, 'It's magical.'"    ~an interview with Anne Carson in the U.K. Guardian, 12/30/06

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"To Forget Its Creator Is One of the Functions of a Creation"
                                                                                          —E. M. Forster
(Poem by Gilbert Allen)

So memory is the absent
center:
letting things slip
out of mind and sight
to make discovery
possible.

And God is no
story:
which is the why
of these strange, awful creatures
whose creator would envy
their lost footprints, if He could. 

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"A mind all logic is like a knife all blade. It makes the hand bleed that uses it."

~Sir Rabindranath "Tagore" Thakur

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"Choosing is the sickness of the mind." 6th century Chinese sage, according to Frederick Franck

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"The perfect man uses his mind as a mirror. It grasps nothing, it refuses nothing. It receives but does not keep."  Chunag Tzu, 4th century B.C.

Sunday, May 11, 2014

Mother

Zero Plus Anything Is A World
~Jane Hirshfield

Four less one is three.

Three less two is one.


One less three
is what, is who,
remains.

The first cell that learned to divide
learned to subtract.
Recipe:
add salt to hunger.

Recipe:
add time to trees.

Zero plus anything
is a world.

This one
and no other,
unhidden,
by each breath changed.

Recipe:
add death to life.

Recipe:
love without swerve what this will bring.

Sister, father, mother, husband, daughter.

Like a cello
forgiving one note as it goes,

then another.

**********

Getting Close

Because my mother loved pocketbooks
I come alive at the opening click or close of a metal clasp.

And sometimes, unexpectedly, a faux crocodile handle makes me
   weep.

Breathy clearing of throat, a smooth arm, heels on pavement, she
   lingers, sound tattoos.

I go to the thrift store to feel for bobby pins caught in the pocket
   seam
of a camel hair coat.

I hinge a satin handbag in the crease of my arm. I buy a little
   change purse with its curled and fitted snap.

My mother bought this for me. This was my mother's.

I buy and then I buy and then, another day, I buy something else.

In Paris she had a dog, Bijou, and when they fled Paris in 1942
   they left the dog behind.

When my mother died on February 9, 1983, she left me.

Now, thirty years later and I am exactly her age.

I tell my husband I will probably die by the end of today and all day he says, Are you getting close, Sweetheart? And late in the afternoon, he asks if he should buy enough filet of sole for two.

From a blue velvet clutch I take out a mirror and behold my lips in
   the small rectangle.

Put on something nice. Let him splurge and take you out for
   dinner, my mother whispers on the glass. 

**********
The Major Subjects           Lawrence Raab

Death is easier
than love. And true feeling, as someone said,
leaves no memory. Or else memory
replaces the past, which we know
never promised to be true.

Consider the sea cucumber:
when attacked it divides, sacrificing half
so that half
won't get eaten. Can the part left undevoured
figure out what to do?

The natural world is always instructive,
mysterious as well, but often
hard to praise. Love
is also difficult—the way it slides into
so many other subjects,

like murder, deceit,
and the moon. As my mother used to say
about anything
we couldn't find: If it had been
a snake it would have bitten you.

Fellow poets, we must
learn again to copy from nature,
see for ourselves
how steadfastly even its beauty
refuses to care or console. 

*********
'A woman knows when to be inside and when to be outside, her mother’s only useful lesson, and of course when to be neither.' Guy Davenport, from “A Field of Snow on the Slope of the Rosenberg” in Da Vinci’s Bicycle

*********

The Dome  by CHAD SWEENEY


I’ll give you that red one.
When we were the poorest,
mom paid my weekly allowance
in birds. That one is yours, she whispered

so as not to disturb it.
If you clean the oven

In a few months
I owned all the birds on the street,
blue jays, finches, a lame owl

cowled in the clock tower.
We had to walk farther each Saturday
to find a new fountain or thicket

 

so mother could pay me what she owed.
We stood on a bridge.
Our soldiers were marching away,

singing
and trying to sound brave.
Their numbers were staggering.

I invented a mathematics
to understand them.
I subtracted them from summer

and it was winter. Most of our houses
were gone, and the birds too.
The university had been bombed

with my father inside, attending a reading
by some Polish poets.
The poems were so sturdy, he said,

they held up the dome of the ceiling.


*********
Family Portrait                                James Allen Hall
If I could turn the photograph, bring my mother's face
to the bright eye of myth, my unflinching lens,
you'd see she's mouthing the words: Take the picture already.

You'd see my father's lust, his loathing
molding her body into some four-legged
photogenic thing, whipped and adored.

You'd see my mother emerging from the ghost world
limb by limb, carrying on her bowed shoulders
Eros and his sadomasochistic twin.

In the dim violated light, she's marked
by a man who can't let any part of her go.
In the light my father makes in the dark,
I was mothered into art. 

*********
To See My Mother                                                Sharon Olds

It was like witnessing the earth being formed,
to see my mother die, like seeing
the dry lands be separated
from the oceans, and all the mists bear up
on one side, and all the solids
be borne down, on the other, until
the body was all there, all bronze and
petrified redwood opal, and the soul all
gone. If she hadn't looked so exalted, so
beast-exalted and refreshed and suddenly
hopeful, more than hopeful—beyond
hope, relieved—if she had not been suffering so
much, since I had met her, I do not
know how I would have stood it, without
fighting someone, though no one was there
to fight, death was not there except
as her, my task was to hold her tiny
crown in one cupped hand, and her near
birdbone shoulder. Lakes, clouds,
nests. Winds, stems, tongues.
Embryo, zygote, blastocele, atom,
my mother's dying was like an end
of life on earth, some end of water
and moisture salt and sweet, and vapor,
till only that still, ocher moon
shone, in the room, mouth open, no song.
**********
Sleep Chains                 Anne Carson
Who can sleep when she —
hundreds of miles away I feel that vast breath
fan her restless decks.
Cicatrice by cicatrice
all the links
rattle once.
Here we go mother on the shipless ocean.
Pity us, pity the ocean, here we go.

*********

Lament for the Makers                                                     Frank Bidart

Not bird not badger not beaver not bee

Many creatures must
make, but only one must seek
within itself what to make

My father's ring was a B with a dart
through it, in diamonds against polished black stone.

I have it. What parents leave you
is their lives.

Until my mother died she struggled to make
a house that she did not loathe; paintings; poems; me.

Many creatures must

make, but only one must seek
within itself what to make

Not bird not badger not beaver not bee
                  •
Teach me, masters who by making were
remade, your art. 

Monday, March 18, 2013

Can't Get Enough of Carson

Truly engaging interview/article with/about Anne Carson by journalist Sam Anderson at The New York Times Magazine blog.

Wednesday, January 25, 2012

More Anne Carson

Anne Carson at the Walker Art Center last November read prose, poetry, and excerpts from her recent boxed-book-elegy Nox. Experience the video. Breathtaking.


Photo by New York Magazine


I can never hear enough of Anne Carson reading her work.

Sunday, October 23, 2011

Fear of (fill in the blank)

So last night I was reading a book of interviews, in which Coleman Barks quoted the following of his own translation of Rumi:

Keep walking, though there’s no place to get to.
Don’t try to see through the distances.
That’s not for human beings. Move within,
but don’t move the way fear makes you move.

When I read that, immediately I realized that given the issues I have been struggling with recently, I have begun to do exactly that: move the way fear makes me move. So how exactly do I escape that impulse, I wondered. Then I remembered this aphorism from James Richardson's Vectors:


121. The worst part of fear is not knowing what to do. And often you only have to ask What would I do if I were not afraid? to know what to do, and do it, and not be afraid.

So that's the new plan. Again. 

And since I was thinking of fear, I looked up a few random other quotes about fear that have been meaningful to me over the years. Here they are:
Let go of grief. Let go of joy. Let go of hope. Let go of fear. Let go of history. Let go of coming and going. Let go of culture. Let go of waiting. Let go of letting go.  
Rudolph Wurlitzer from Hard Travel to Sacred Places

I wanted to find one law to cover all of living. I found fear.
Anne Carson from "The Anthropology of Water"
 ...remember fear for what it is: a resistance to the unknown.
Terry Tempest Williams

When I was in my 20s, a friend said to me, "You are fearless. You'll try anything." I had to explain to her that in fact I was consumed with fear. Getting out of bed in the morning caused great anxiety in me. But since everything made me afraid and anxious, I didn't distinguish between experiences that made people with normal fear responses feel fearful and everyday situations that caused worry in me. Since on any given day I had already overcome 58 other fearful situations before being asked if I wanted to do something that would make a person with a good grip of reason feel fearful, I would think, Yeah sure, I'll try it; what's one more terrifying thing to try today?

Somewhere along the line I lost that ability to manage my distress. But I've got to get it back. Fear, my one constant. You think I'd be better at this by now.

Thursday, October 20, 2011

Video Poems

Video poems have become more and more popular over the past couple of years. Today I found a website put together by poet Dave Bonta that has centralized many of the video poems available on the net. It's called Moving Poems, but he also lists other video poems sites you can use, if you scroll down and look on the right side of his homepage.

Bonta has the video poems broken into useful categories: animation, author-made, concrete poems, interviews, dance, to name a few of his categories. He also tends to comment helpfully on each video in text under the screen.

I had been aware of videos by Anne Carson, Todd Boss, Kate Greenstreet, Michelle Bitting, and Billy Collins before stumbling onto Bonta's site, and I had liked all the work that I had seen. Until now, and I still like plenty, just not all.

Below is the "Reticent Sonnet" by Carson. (I love all of Carson's video work. Look on YouTube for more great video poems by her, including "A Lecture on Pronouns in the Form of Fifteen Sonnets.")



And here's Todd Boss's "Icicles." (A couple of really nice Todd Boss poems that aren't on Bonta's website but which are on YouTube are "Don't Come Home" and "Poverty and Paint." In fact, Todd Boss has his own YouTube Channel).


And here's Billy Collins's "Forgetfulness."


The last video I will share today is from Kate Greenstreet. It's called "Cloth." I've not included the screen but only the link because Greenstreet uses the Vimeo format, and somehow Blogger seems to prefer YouTube. (In fact, look for more of Greenstreet's work on Vimeo, rather than YouTube.)

Watching more video poems from Bonta's site this morning, I realized I have much more mixed feelings about them than I had previously thought. Some of them resonate deeply with me, but others are at such odds to my reading of given poems that I cannot enjoy them, and even feel irritated by them. Some visual interpretations that are different from what I would have conceived stretch my imagination and challenge me, but others merely disappoint or worse, disgruntle.

I also find the use of music to be helpful only in certain combinations with voice, poem, and visual image. Sometimes the music overwhelms the music of the spoken voice, and really distracts me, whereas other times music enhances the general atmosphere of the poem effectively.

I also find I have a strong preference for the poem to be read aloud rather than presented in type or text as a visual element in the video. Particularly when the lines are fed to me slowly, I find that the rate usually does not match the rate at which I wish to read, and that is highly frustrating. I lose the line in my frustration.

I am cranky, or what?

So, do you have any favorite video poems to recommend?

Tuesday, June 7, 2011

For Fans of Anne (Carson)

Will Aitken interviews Anne Carson on the Paris Review blog.

This extraordinarily personal interview reveals Carson's process behind her book-in-a-box, Vox, an elegy for her older brother. About which the poet says, "I finally decided that understanding isn’t what grief is about. Or laments. They’re just about making something beautiful out of the ugly chaos you’re left with when someone dies. You want to make that good."

When Carson is asked about the line "My personal poetry is a failure," (from the poem "Stanzas, Sexes, Seduction"), a conversation ensues about the sense of failure upon finishing a poem, whether or not its a function of the persona, and how the deeply the thinking is ever finished in a poem compared to how much it remains a surface experience, to which finally Carson answers, "...this capturing of the surface of emotional fact is useful for other people in that it jolts them into thinking, into doing their own act of understanding. But I still don’t think I finished the thinking." Which is a stunning thing to hear from a poet's whose words (particularly in "The Glass Essay," about which Carson and Aitken are discussing in particular at this point) jolted me into my own act of understanding, or it not understanding exactly, then thinking at least.

Which is what Anne Carson's writing does for me almost all of the time.

And which made me question: if Anne Carson doesn't feel like she has finished the thinking, how can I feel that in writing a poem, I have ever finished the thinking, with my intellect and instinct so less developed than hers? Indeed, have I ever felt that I was finished (the thinking, not the poem), or rather do I feel that I simply have no more to add that would be useful to the surface, without presuming about the deeper thinking? Or do I attempt the deeper level (honestly attempt it) and fail once again, a la Beckett, each time? Is a good poem always more useful to the reader than to the writer? And if it's not, is it not then a good poem?

Discussing her academic work, Carson explains, " I never found it possible to think without thinking about myself thinking. And I’m not sure if that’s a casualty of being me or a casualty of being human, so I decided to assume the latter and just go ahead with the project of thinking of me as if it were a legitimate human enterprise and would be enlightening to other humans. So my scholarship, such as it is, is intensely subjective. But because I am aware of this as a problem, I make an attempt to continually bridge the gap between that subjective self and the reader. So although it’s a private vision, it also brings the reader into its vision from time to time."

The entire interview winds around and around the self. Take your self over there and have a look.