“The Echo Elf Answers”

Thomas Hardy (1840-1928)

English poet Thomas Hardy uses an echo based on the last few words of a number of questions he puts regarding his future. It’s a somewhat dark poem, but a good one.

The Echo Elf Answers

How much shall I love her?
For life, or not long?
               “Not long.”
 
Alas! When forget her?
In years, or by June?
               “By June.”
 
And whom woo I after?
No one, or a throng?
               “A throng.”
 
Of these shall I wed one
Long hence, or quite soon?
               “Quite soon.”
 
And which will my bride be?
The right or the wrong?
               “The wrong.”
 
And my remedy– what kind?
Wealth-wove, or earth-hewn?
               “Earth-hewn.”

The Crossing of the Berezina

The low point of Napoleon’s retreat from Moscow was the crossing of the ice-choked Berezina River, after the Russians had destroyed the bridge. Curiously, that crossing was also a choke point in Charles XII of Sweden’s invasion a hundred years earlier—a fact that Napoleon was aware of as he carried with him Voltaire’s Histoire de Charles XII. Here is the scene as described in Patrick Rambaud’s The Retreat:

What Voltaire wrote of the Swedish troops could have been a description of this shadow of the Grande Armée: “The cavalry no longer had boots, the infantry were without shoes, and almost without coats. They were reduced to cobbling shoes together from animal skins, as best they could; they were often short of bread. The artillery had been compelled to dump all the cannon in the marshes and rivers, for lack of horses to pull them….” The Emperor snapped the book shut, as if touching it would put a curse on him. Slipping a hand under his waistcoat, he made sure that Dr Yvan’s pouch of poison [for possible suicide] was safely attached to its string.

And here is the beginning of Victor Hugo’s poem “Expiation,” part of his The Punishments, about the retreat from Russia (as translated by Robert Lowell):

The snow fell, and its power was multiplied.
For the first time the Eagle bowed its head—
Dark days! Slowly the Emperor returned—
Behind him Moscow! Its own domes still burned.
The snow rained down in blizzards—rained and froze.
Past each white waste a further white waste rose.
None recognized the captains or the flags.
Yesterday the Grand Army, today its dregs!
No one could tell the vanguard from the flanks.
The snow! he hurt men struggled from the ranks,
Hid in the bellies of dead horses, in stacks
Of shattered caissons. By the bivouacs
One saw the picket dying at his post,
Still standing in his saddle, white with frost
The stone lips frozen to the bugle’s mouth!
Bullets and grapeshot mingled with the snow
That hailed ... The guard, surprised at shivering, march
In a dream now, ice rimes the gray moustache
The snow falls, always snow! The driving mire
Submerges; men, trapped in that white empire
Have no more bread and march on barefoot.
They were no longer living men and troops,
But a dream drifting in a fog, a mystery,
Mourners parading under the black sky.
The solitude, vast, terrible to the eye,
Was like a mute avenger everywhere,
As snowfall, floating through the quiet air,
Buried the huge army in a huge shroud ...

That was the low point of Napoleon’s reign, unless you include Elba, Waterloo, and captivity under the English at St. Helena.

“This Kind of Fire”

This has been a month for re-reads. Today, I finished reading Charles Bukowski’s The Continual Condition, a posthumous collection of his unpublished poetry. I love Buk’s poetic voice. Here is a poem entitled “This Kind of Fire.”

This Kind of Fire

sometimes I think the gods
deliberately keep pushing me
into the fire
just to hear me
yelp
a few good
lines.

they just aren’t going to
let me retire
silk scarf about neck
giving lectures at
Yale.

the gods need me to 
entertain them.

they must be terribly
bored with all
the others

and I am too.

and now my cigarette lighter
has gone dry.
I sit here
hopelessly 
flicking it.

this kind of fire
they can’t give
me.

The Labyrinth

I keep returning to the poems of Jorge Luis Borges in the labyrinthine journey of my life. For over half a century, his writings have shone a strong light on my path forward. Several years after Borges died, John Updike translated his poem “The Labyrinth” and had it published in The New Yorker.

The Labyrinth

Zeus, Zeus himself could not undo these nets
Of stone encircling me. My mind forgets
The persons I have been along the way,
The hated way of monotonous walls,
Which is my fate. The galleries seem straight
But curve furtively, forming secret circles
At the terminus of years. And the parapets
Have been worn smooth by the passage of days.
Here, in the tepid alabaster dust,
Are tracks that frighten me. The hollow air
Of evening sometimes brings a bellowing,
Or the echo, desolate, of bellowing.
I know that hidden in the shadows there
Lurks another, whose task is to exhaust
The loneliness that braids and weaves this hell,
To crave my blood, and fatten on my death.
We seek each other. Oh, if only this
Were the last day of our antithesis!

Summer Is Icumen In

It was bound to happen eventually. We had an unusually cold winter, but now the pendulum has swung to the other extreme. It wasn’t so bad near the ocean, where we live; but Martine spent most of the day downtown, where the temperature was several degrees of Fahrenheit warmer. It was no surprise to me that she took the earlier bus back.

The title of this post is the diametric opposite of the first line of an Ezra Pound satirical poem on the subject of winter, written, of course, in Middle English:

Winter is icumen in,
Lhude sing Goddamm,
Raineth drop and staineth slop,
And how the wind doth ramm!
Sing: Goddamm.
Skiddeth bus and sloppeth us,
An ague hath my ham.
Freezeth river, turneth liver,
Damm you; Sing: Goddamm. 

Goddamm, Goddamm, ’tis why I am, Goddamm,
So ’gainst the winter’s balm.
Sing goddamm, damm, sing goddamm,
Sing goddamm, sing goddamm, DAMM.

Typically during this time of year, I turn into a lizard-like reader of books set in warm climates, like India, South and Central America, or the Deep South. I started by re-reading William Faulkner’s Sanctuary (1932) and have started in on Edouard Glissant’s Faulkner, Mississippi (1999).

I will probably try to get up earlier so I can take my walks in the cooler mornings. Once noon has passed, it is no fun to exercise.

When to Photograph a Poet

Polish Poet Adam Zagajewski (1945-2021)

The following poem by Adam Zagajewski hits the nail right on the head when describes the very uncinematic and unphotographic life of a poet.

Poets Photographed

Poets photographed,
but never when
they truly see,
poets photographed
against a backdrop of books,
but never in darkness,
never in silence,
at night, in uncertainty,
when they hesitate,
when joy, like phosphorus,
clings to matches.
Poets smiling,
well informed, serene,
Poets photographed
when they’re not poets.
If only we knew
what music is.
If only we understood.

“This Fabulous Shadow Only the Sea Keeps”

American Poet Hart Crane (1899-1932)

I’ve always liked the poetry of Hart Crane. To begin with, he was from Cleveland, like me. In 1932, he killed himself by jumping overboard from a steamship sailing the Gulf of Mexico—after he had made an unsuccessful sexual overture to a crew member. This poem is a tribute to Herman Melville, author of Moby Dick, Billy Budd, and other tales of the sea.

At Melville’s Tomb

Often beneath the wave, wide from this ledge
The dice of drowned men’s bones he saw bequeath
An embassy. Their numbers as he watched,
Beat on the dusty shore and were obscured.

And wrecks passed without sound of bells,
The calyx of death’s bounty giving back
A scattered chapter, livid hieroglyph,
The portent wound in corridors of shells.

Then in the circuit calm of one vast coil,
Its lashings charmed and malice reconciled,
Frosted eyes there were that lifted altars;
And silent answers crept across the stars.

Compass, quadrant and sextant contrive
No farther tides ... High in the azure steeps
Monody shall not wake the mariner.
This fabulous shadow only the sea keeps.

The Master

Gautama Buddha

The following is a section from the Shambhala Pocket Classics edition of Dhammapada: The Sayings of the Buddha as translated by Thomas Byrom. It is called “The Master.”

At the end of the way
The master finds freedom
From desire and sorrow—
Freedom without bounds.

Those who awaken
Never rest in one place.
Like swans, they rise
And leave the lake.

On the air they rise
And fly an invisible course,
Gathering nothing, storing nothing.
Their food is knowledge.
They live upon emptiness.
They have seen how to break free.

Who can follow them?
Only the master.
Such is his purity.

Like a bird,
He rises on the limitless air
And flies an invisible course.
He wishes for nothing.
His food is knowledge.
He lives upon emptiness.
He has broken free.

He is the charioteer.
He has tamed his horses,
Pride and the senses.
Even the gods admire him.

Yielding like the earth,
Joyous and clear like the lake,
Still as a stone at the door,
He is free from life and death.

His thoughts are still.
His words are still.
His work is stillness.
He sees his freedom and is free.

The master surrenders his beliefs.
He sees beyond the end and the beginning.

He cuts all ties.
He gives up all his desires.
He resists all temptations.
And he rises.

And wherever he lives,
In the city or in the country,
In the valley or in the hills,
There is great joy.

Even in the empty forest
He finds joy 
Because he wants nothing.

The Destruction of the Jaguar

After the Spanish conquistadores conquered the Maya peoples, they published one more work in Maya. It was called The Chilam Balam of Chumayel and consisted of a series of prophetic books looking pessimistically into the future. The poet Christopher Sawyer-Lauçanno in The Destruction of the Jaguar wrote a poetic retelling of these prophecies. Below is the prophecy of Ah Kauil Chel:

What has been written
will be fulfilled.
Though you may not comprehend it
though you may not understand it
he will come who knows
how the ages unfold
like the stone steps
on the palace of the governor.
For now
the priests, the prophets
will interpret
what is to be fulfilled,
shall herald with sorrow
the destruction of the jaguar.

On Desolation Peak

The Fire Watch Tower Atop Desolation Peak

In the summer of 1956, when I was 11 years old, Jack Kerouac spent 63 days manning a fire watch tower in Washington’s North Cascades, atop Desolation Peak. On the Road, which was to be the main source of his fame, followed by The Dharma Bums, were not yet published. The recently published Desolation Peak is a collection of Kerouac’s many writing projects—many of them fragmentary—while he scanned the horizon for fires during those 63 days.

Jack was desperately poor having spent all his money to get to Washington from Mill Valley. He began his job as a fire watcher with a total of 2¢.

This year I have become entranced by Kerouac. Like most of the members of my generation, I read On the Road while I was still in high school, and then stopped there. I have become newly fascinated by his work and am resolved to read all his work that I can find. That assumes I will live long enough, as Jack was a busy boy.

Below is a selection of what Kerouac called his “Desolation Pops.” In form, they resemble traditional Japanese haiku, but they do not adhere to the genre strict rules concerning the number of syllables per line. They’re still interesting. After all, English is a very different language than Japanese.

Jack Kerouac (1922-1969)

(7)
A stump with sawdust
     —a place
To meditate

(11)
The clouds assume
     as I assume,
Faces of hermits

(24)
There’s nothing there
     because
I don’t care

(36)
Poor gentle flesh—
     there is
No answer

(42)
Wednesday blah
     blah blah—
My mind hurts

(55)
Rig rig rig—
     that’s the rat
On the roof

(59)
I called Hanshan            | A Zen Buddhist recluse
     in the fog—
Silence, it said

(60)
I called—Dipankara        | One of the Buddhas of the past
     instructed me
By saying nothing

(70)
Aurora borealis
     over Mount Hozumeen—
The world is eternal