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photolosophvisagonism.

I admire <small territory>
    here in the universe of words.  never "where should I
claim? the question, rather,
‘artist’ flag tonight?"  whitherthe union? 
    sfeeds of wonks, muckrakers brandish firmer grasps
I.  A poemphoto treatise fire
page is pretty s
morgasboar
dof the intelistry of others:  
  
    all these things, but they are my own
presence smack
free-form
mediocrity.

Snapshots: Searchlights & Floodlights

I used to write at least a poem a day, and at my most prolific, I would probably write five to ten.  Not that they were any good, mind you.  Those bolts of inspiration hit at random intervals, and, looking back, even the pieces I thought were thoughtful and poignant at the time often look linguistically, structurally and intellectually flawed and self-absorbed now.  That case was well-illustrated last night when, as I was attempting to find a good poem from 8-10 years ago to post here, I could not find a single one that was not utterly cringe-worthy.

Even so, as I have written before, and no matter how unfocused the final product may have been at times, I reflect on those fifteen or so years as bursting with flurries of creative energy.  It wasn’t that I was happier then – in fact, reading through those notebooks last night, I was pretty much wallowing in self-pity most of the time… like I was emo before emo existed (preemo?).  I wasn’t happier, but I was somehow more fulfilled.  I felt more like a complete person.  Now, ever since I ended my prolonged collegiate tour of duty and joined the working world, I cannot seem to recapture that insatiable urge to express myself in verse.

The blogging is having its desired effect in that regard, as I feel like I am slowly regaining my confidence as a wordsmith.  One of Natalie Goldberg’s commandments (from the Bible of creative writing – Writing Down the Bonesand I am sure she would abhor my calling it a commandment) is to write every day.  The more you write, the more confident you get – the more you hone your craft.  But the blog is more of a journal… it is not quite artistry.  (Take a gander at this fantastic essay on the what and why of blogging from The Atlantic’s Andrew Sullivan.)  I still haven’t gotten back in the groove of writing art.  This is not poetry, it is only expression.

And that is why I am taking so much pleasure in my photoblog (and I would like to thank my gentle commenter, ancient scribe extraordinaire, and distinguished mayor of Everville, for making the suggestion – you are about to cost me a lot of money, my friend).  I have always enjoyed taking photographs, but I never thought of my little pictures as art.  Mostly they were hastily and cheaply taken snapshots of vacations, friends and family outings.  But as I have been pouring over some of my more recent photos, judging their blogworthiness, retouching and posting them over the past couple of weeks, I have come to realize that I am generally performing the same function with photography as I am with poetry.  Both media, for me, are methods of preserving moments in time. 

Grammaticastung Fotoblog

I am sure we could spend many a post psychoanalyzing my need to preserve these memories.  It probably involves my fears of loss, change, and death.  Should we leave that for another time?  I think we shall.  My point here is not a gloomy one, after all.  I am excited to be discovering these new outlets for my self-expression.  I am looking into getting myself a real camera and setting up a DeviantART site where fellow artists can provide feedback and view full-size images of my work.  I also bought a photography book.  Yeah.  This will be a more expensive hobby than blogging and poetry.  Ah, well.  It isn’t like I have anything else to do. 

[That ominous sound you hear is the IRS laughing at my reckless naïveté.]

I hope you will enjoy the pictures, at any rate.

Hoche

Sometimes it’s fun to dig out the old notebooks and try to recapture my emotional state at a certain point in time.  This piece, for instance, was written at a little sidewalk café.  I do not remember what initially inspired me to write, or what exactly I intended it to mean, but I can read the words and be transported to that chair on the sidewalk under the fading light of a foreign sky.  I can feel what it was to be there.  Sometimes the shittiest poems are better than the most brilliant photographs. 

By the way – according to Babelfish, “hoche” means “shake.”  I have no idea.

Hoche

 

The automobiles pass by balconied buildings:

floating objects among the immobile.

The Brasserie le Do Re Mi bristles with excitement –

the day is over.

Birds perch on streetlamps, awkward,

for a moment, then move on.

The author perches on his bench.

 

Paris, August 2000

The Cornered Ball

I have been rolled into this dim corner, and
from this vantage point, can survey
my haphazardly scattered, neglected friends –
relics from yesteryears strewn, broken and forgotten.

 

Sometimes the sunlight filters through
the dusty window glass,
illuminating the corpses of castaways
in this little-lost-toy room
like a littered battlefield.

 

I turn away from my only companion –
a pale baby’s fist long-severed
from its lifeless, plastic body.
It mocks me – its filthy digits
only cruel imitations of the little girl’s
soft, warm hands that held me,
bounced me, shared me in ancient summer afternoons.

 

You wouldn’t think it to look at me now –
a sad, limp, calloused and deflated
pink blob clad in thin cobwebs –
but I used to shine a brilliant scarlet –
proud, vigorous, loved.  But, see,

 

childhood innocence is fleeting.
Little girls grow up and venture out
into the reality of the wild, vicious world.
We are bartered away,
casualties of adolescence.

 

Now, year on year,
I can only gloomily ponder
these pathetic, plastic fingers at my side –
imperfect reminders of how things were
and will never be again.

 January 2005

Onwards

Onwards

Strangers’ eyes lock and apologize to each other
wordlessly, beneath the “hi.”  Jackets swoosh on,
hurrying the struggling grass.

Kindness is a reflection in a plastic glass
floating inside muddy eddies under bridges – fog shrouded,
submerging, submitting, malnourished.

A pinky finger is tracing mindless highways out
in the pepper-strewn styrofoam salt flats:
a purple sparkle bulldozer.

Out on the sidewalk, one of the uncounted objectors
spills exhausted examples of lost love-strewn language:
“Dodge with me this verbal minefield – I can be

your flimsy, fleshy human shield;  blind until the broken sky
allows us daylight, free until my words are cut down –
deflated fruit from a twig-thin tree.

Trust me or at least pretend I have no fractured,
promised past; no silly, stuttered words to rend.
Laugh me on my wistful way.”

There is a word to describe this pedestrian process, but
little silicon threads are the only linguists left;
their flowing electric signals – the only ministers.

From Spring 2005.

Destinations

Okay, I’ll admit it.  I’m phoning this one in tonight.  It’s late.  I’m tired.  This poem is from early 2005, I think.

Destinations

 

There is nothing more to write; to say.
I’ve watched the streetlamps recede toward darkened highways;
listening to the drumming rattle of sidewalk artists
beating out tribal war chants that have become
meaningless trivia set to awkward music,
their voices – shallow, spilling hollow sounds.

 

The bonfires have all but winked out;
I see my withered hands dance in the artificial light,
I see them and don’t believe in them anymore.
Contentment curls human beings like these elderly fists:
little repression mechanisms sputtering out listlessly
behind antiseptic partitions and flickering spreadsheets.

 

My hands dance because that is what they do,
what they’ve always done – what’s expected.
Beyond the tunnel I’ve seen the devil, neglected
and beautiful, primping his useless wings like a parakeet.
Out on the lawn, the flags hang like candle wax –
clinging lifelessly in the stale industry air.

 

I am as aimless as these old pathways –
little fake geometric patterns that lead nowhere;
an engineer’s grand illusion of function, gone awry.
I walk along them from point to point,
pointlessly meandering through muddy miracles
of pulverized leaves and starving blades of grass.