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Category: positions to ponder

“A Repentance” – richibi‏

Titian "Danaë" (1554)

Danaë (1554)

Titian

________

nor can I not report a poem that I offered
as an apology for an affront I’d caused,
utterly unwittingly, to one of my course’s
gracious participants

she had objected to slights against the
very perception of sex crimes, which I’d
egregiously equated, she said, with
soul-destroying profanities

_________

A Repentance

(wherein I “bite my thumb”
at the Petrarchan sonnet, I think)

Stand certain, Anonymous, that
I am completely in your corner,
No even passing account of sexual
Crimes against women should

Ever overlook their horror,
Regardless of the context,
Erudite or otherwise, therefore
Let me here sincerely apologize

Your reprimand is not lightly
Stamped upon my conscience,
Only understand that for me a

Rape of the soul is also a
Repulsive matter, greatly also deplorable
Yours truly, Richard

____________

you’ll note the acrostic interpolation,
“SINCERELY SORRY”, at the head of
each verse of my text, meant to
counter the mode of the offending
matter, John Peale Bishop’s vicious
A Recollection

Richard

psst: the painting above is the subject
of Bishop’s, completely
objectionable, stunt

Jackson Pollock / Tristan Tzara

 Jackson Pollock -  "Blue Poles (Number 11)"

Blue Poles (Number 11) (1952)

Jackson Pollock

_____

How to Make a Dadaist Poem

To make a Dadaist poem:

Take a newspaper.
Take a pair of scissors.
Choose an article as long as you are planning to make your poem.
Cut out the article.
Then cut out each of the words that make up this article and put them in a bag.
Shake it gently.
Then take out the scraps one after the other in the order in which they left the bag.
Copy conscientiously.
The poem will be like you.
And here are you a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar.

Tristan Tzara

_________________

though the idea at first seems fanciful,
outrageous, think of Jackson Pollock,
and his “action paintings”, great art
produced by the instinctual wisdom of
musculature, its preconscious impulses

Tristan Tzara, 1896 – 1963, was one of
the originators of Dada, an influential
art movement of the early Twentieth
Century that rejected all traditional
forms of art for having led to the
havoc of World War l

Richard

Pablo Picasso/Gertrude Stein

Pablo Picasso - "Untitled" (1923)

Untitled (1923)

Pablo Picasso

________

Gertrude Stein was a friend of Pablo Picasso,
you can see it in her prose, a disordering of
traditional practices, perspectives and
proportions

in loving repeating she writes

As I was saying loving repeating being is in a way earthly being. In some it is repeating that gives to them always a solid feeling of being. In some children there is more feeling and in repeating eating and playing, in some in story-telling and their feeling. More and more in living as growing young men and women and grown men and women and men and women in their middle living, more and more there comes to be in them differences in loving repeating in different kinds of men and women, there comes to be in some more and in some less loving repeating. Loving repeating in some is a going on always in them of earthly being, in some it is the way to completed understanding. Loving repeating then in some is their natural way of complete being. This is now some description of one.

Gertrude Stein

_________________

in my poetry course the Modernists keep on
coming, quite a few I’ve found impenetrable
and obtuse, I can see their points, but find
them pedantic and trivial

similar sentiments greeted the Impressionists
when they came out, so I’m watching myself

it’s easy to digest Picasso‘s painting now,
but even when I was a boy he was
controversial, now everyone admires him

Gertrude Stein not so much, writing is not
painting

they are both, I believe, returning to the
language of innocence, putting together
their world as children do, getting their
information in overlapping concepts,
trying to make their way through the
muddle

a five-year-old would talk like that, a
five-year-old would paint like that,
both are sorting out their new world,
the world that had been so profoundly
disturbed, disjointed

they were returning to the disarray,
and consequent irregular grammar,
of children, making their own kind
of common sense, trying to get their
bearings, after all, even God had
died, see Nietzsche on that

and, for better or worse, finally,
they’ll leave you behind, the children,
whose world, then, is it worth attending

Richard

psst: as a boy I asked my dad, while
interminably, I thought, fishing,
how long it would take the
minnow to grow into the
required fish, how’s that for
not illogical observation

Bill and Flossie Williams

Arshile Gorky - "Hitler invades Poland" (1939)

Hitler Invades Poland (1939)

Arshile Gorky

________

it must be understood that World War l
changed everything, the old order,
orders, had been discredited, new
states were formed, territories allotted,
-isms proliferated, the arts had to, of
course, reflect that, and did, as many
-isms were hatched in the art world
as in the political world, indeed,
many more

which is why much of it at first
seems questionable, practitioners
were learning anew how to talk, paint,
make music, they were creating a new
conceptual universe to replace the one
that had been roundly discredited, the
one that had been around in the West
for the last two thousand years

therefore Schoenberg, therefore
Picasso, and therefore Finnegan’s
Wake
“,
for instance

we’ve been studying American
Modernists in the classes on the
Internet I’m taking
, none of whom
I find interesting, and I’m, contrary
to all expectations, losing even my
early enthusiasm for the much too
thorny, I think, Emily Dickinson

but here’s another abstruse poet
that I like in this poem

though I much prefer his wife
Flossie’s sardonic reply
, which
follows

________________

This Is Just To Say (1934)

I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

William Carlos Williams

________________

Flossie’s Reply (1934)

Dear Bill: I’ve made a
couple of sandwiches for you.
In the ice-box you’ll find
blue-berries–a cup of grapefruit
a glass of cold coffee.

On the stove is the tea-pot
with enough tea leaves
for you to make tea if you
prefer–Just light the gas–
boil the water and put it in the tea

Plenty of bread in the bread-box
and butter and eggs–
I didn’t know just what to
make for you. Several people
called up about office hours–

See you later. Love. Floss.

Please switch off the telephone.

Florence Williams

____________

go Florence, I say, but you can
see, of course, why I’d say that

Richard

Ezra Pound “on the language of form and colour”‏

Wassily Kandinsky - "304"

304 (1910)

Wassily Kandinsky

______

in trying to explain the genesis of his poem,
In a Station of the Metro“, Ezra Pound
says

And so, when I came to read Kandinsky’s chapter on the language of form and colour, I found little that was new to me. I only felt that someone else understood what I understood, and had written it out very clearly. It seems quite natural to me that an artist should have just as much pleasure in an arrangement of planes or in a pattern of figures, as in painting portraits of fine ladies, or in portraying the Mother of God as the symbolists bid us.”

Pound is saying that playing at painting is
no different from playing an instrument or
playing a part in a play, art is about playing,
the artist has reached enough skill at his or
her craft, that he or she, however seriously,
is now playing

therefore Kandinsky, for instance

there remains, however, communication,
how much will one want to play, join in,
when the artist’s aim should be, I would
think, communication, have the
refinements become so inscrutable as to
become alienating, and contrary to art,
if not outright rubbish under an effete,
affected, gaze

what do you think

Richard

what is a philosopher‏

Henri Martin - "Philosopher"

Philosopher

Henri Martin

________

considering the response below too
forthright for a discussion we were
having on a university course website,
interactively dealing with the question
of free will, I nevertheless found worthy
my opinion of what a philosopher is,
which I deign to mount here on my,
less discreet, canvas

if you’ll allow

it is evidently a dramatic monologue

Richard

__________

what is a philosopher

you are not a philosopher, sir, to take
offence so quickly, a philosopher is
objective, and wouldn’t allow for
emotion to get in the way of even an
offensive argument

but with irrefutable logic simply
expose his, her sound position

indeterminacy would be encountered
with humility first, then grace, only
ever consummate deference

if you’ll allow

cheers

Richard

psst: see, for more on indeterminacy,
Socrates, ever catering to objections

ballin’ the Jack‏

 Leonora Carrington  - "Jack be Nnimble, Jack be Quick" (1970)

“Jack be Nnimble, Jack be Quick (1970)

Leonora Carrington

_________

a friend writes about my most recent
parsing art – Rouseau/Siudmak entry

“You are so perceptive, Richard. How did you possibly remember these two very disparate paintings and realize (in your mind!!!) that they were so similar????
Encyclopedic visual memory?

Brilliant! Fun!

Thanks!

Theresa.”

I answered

first I put my two knees close up tight,
I swayed them to the left and then I
swayed them to the right, I twisted
around the floor kind of nice and light,
and then I twisted around and twisted
around with all my might

it works every time, just click

enjoy

Richard

parsing art – Rousseau/Siudmak‏

Henri Rousseau "Alleyway in the Park of Saint Cloud" (1908)

Alleyway in the Park of Saint Cloud (1908)

Henri Rousseau

_________

Wojciech Siudmak - "Poème Matinal)

Poème Matinal

Wojciech Siudmak

__________

the line seems fine here between homage
and appropriation

what do you think

Richard

a merely theoretical dilemma, a poem


Albrecht Dûrer - "Apollo and Diana(" (1502)

Apollo and Diana (1502)

Albrecht Dürer

________

in the tradition of Elizabeth Barrett Browning,
a forthright, personal poem

a merely theoretical dilemma

yesterday, I had lunch with Vickie,
she said she admired our relationship,
despite the fact, which I’d interjected,
that there was no sex

she didn’t find that unacceptable

I found her concern more personal,
revealing, than strictly theoretical

then gave up the improbable
thought

I dream, however, ever, Apollo, and
irrepressibly, of your genitals,
knowing that your spawn would
transform me, ineradicably, into
a constellation, its crystallization
our progeny, into immortal stars

but that would mean leaving you,
Apollo, behind

could I, would I, do that

love

me

parsing art – a response to my mother

JohnSinger Sargent - "Mrs Edward L. Davis and Her Son Llivingston" (1890)

Mrs Edward L. Davis and Her Son Livingston (1890)

John Singer Sargent

______

about John Cage my mom writes,

“Hi Rick…..

When you called I had written the message but not sent it….I am trying again..

I cannot see people spending $100 or more and wasting almost 8 minutes of their time
to watch that crap…..

As for David Hockney…..well…..not my style….but for your sake I hope a lot of people like it…..

See you at 6 p.m……will give you enough time to digest what I said…..All my love….MOM….XXXX”,

most uncharacteristically, the last time
she used an epithet was when I landed
some Schönberg on her, which she
returned promptly and categorically,
that was some fifteen years ago, even
maybe twenty

bravo, Mom, for your robust opinion,
that’s what art’s about

but I’m reminded thereby that art is not
just for effetes, pretenders to arcane
insights, it’s for all of us, not getting it
is not necessarily our fault, sometimes
the artist is obtuse, even trite

what is true should be clear, I believe,
to everyone, which is why I ever adhere
to art, art cannot be anything other than
true, manifestly, else it falls apart

love you, mom

Rick

psst: if you’ve got quarters, please bring
some over tonight